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LEAH KLESCHNA 



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LEAH KLESCHNA 



A Play in Five Acts 



BY 



C. M. S. McLELLAN -^ 



Copyright 1920 by Samuel French, Ltd. ^ 
All rights reserved 



London 

SAMUEL FRENCH, Ltd., 

Publishers 

36 Southampton Street 

STRAND. W.C.2 



New York 
SAMUEL FRENCH 
Publisher, 
28 WEST 38TH STREET 



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INTRODUCTORY NOTE 

"Leah Kleschna" was first produced in 1904 at the Manhattan 
Theatre, New York, with Mrs. Fiske in the title role. 

It was the first serious work attempted by the author, who had 
hitherto, under the nom de plume of " Hugh Morton," confined his 
writing to the lighter side of the stage. In this sphere he had already 
become famous as the author of " The Belle of New York." 

" Leah Kleschna " was hailed by critics, both in England and 
America, as a valuable contribution to the literature of the Drama. 

The opportunity may be taken of recording here that the author 
originally wrote the play to finish with the conclusion of the fourth 
act. He added the fifth act in deference to the wishes of the pro- 
ducer, who considered, no doubt correctly from the viewpoint of 
the box-office returns, that a conventionally happy ending would 
be essential to the play's success. But the author always felt that, 
artistically, the fifth act was in the nature of an anticlimax. 

HUGH McLELLAN. 






OCT (4i920f:>,, 

^GI.G 5576-2 ^ 
(I 



LEAH KLESCHNA 

Produced in England at the New Theatre, London, on Tuesday, May 2nd, 
1905, with the following cast of characters : — 



CHARACTERS. 

Paul Sylvaine (Member of the Chamber of Depu- 
ties) 

Kleschna (an Austrian Criminal ; known as Mon- 
sieur Gamier) 

ScHRAM (his Pal, acting as liis servant) 

General Berton (of the French Army) 

Raoul Berton (his Son) .... 
■ Valentin Favre (a young Journalist) 
;Herr Linden (a Schoolmaster) . . 

Anton Pfaff (a young Peasant) . 

•Johann (an old Peasant) 

Reichmann (a Farmer) .' . 

Baptiste (a Valet de Charabre). 

Leah (daughter of Kleschna) 

Madame Berton (Wife of General Berton) 

Claire (her Daughter) 

Sophie Chaponniere (Valentin's Sweetheart) 

Frieda (a Peasant Girl) 

Charlotte (an old Peasant Woman) . 



Mr. Leonard Boyne. 



31 r. Charles Wariier. 
Mr. WiUiam Devereux. 
Mr. J. G. Graham. . 
Mr. Herbert Waring. 
Mr. Bertram Steer. 
Mr. A. E. Drinkwatcr. 
Mr. W. Hubert. 
Mr. A. W. Baskcomb. 
Mr. Henry Williams. 
Mr. Reginald Walter. 
Miss Lena Ashwell. 
Miss Mary Barton. 
3Iiss Daisy Markham. 
3Iiss Betty Callish, 
3Iiss Dora Gray. 
Mrs. Stanislaus Calhaein. 



SCENES. 



Act I. — Heschna's lodgings in Paris. 

Act II. — Study in Paul Sylvaine's house at Saint Cloud. 

Act III. — Same as Act II. Morning. 

Act IV. — Same as Act I. Night. 

Act V. — Vegetable Gardens near Neustadt, Austria. 



Nisht. 



All applications for permission to perform this play by either ijrofessional 
or amatem' comjjanies must be addressed to : — 

Messrs. Samuel French, Ltd., 

28 Southampton Street, 

Strand, London, W.C.2 

or their authorized representatives. 

The fee for each and every representation by amateiirs is Five Guineas, 
payable in advance. Upon payment of the fees, a written permission will be 
issued for the performance or performances to take place, and no representation 
may be given unless tlais -written authority is held. 

The number of the Play Pictorial giving illustrations of the production 
of " Leah Kleschna " in London may be obtained from The Play Pictorial 
Co., G Adam Street, London, W.C.2. 

All Costumes and Wigs used in the performance of plays contained in French's 
Acting Edition may be obtained from Messrs. Charles H. Fox, Ltd., 27 
Wellington Street, Strand, London, W.C.2. 



ACT I 

Scene. — The living-room of a set of lodgings in the Rue de Clichij, 
Paris. It is a decent but very moderately furnished apartmcM 
on the top floor. Through two long windows at back, opening 
on the usual narrow iron balcony of Paris structures, is a view 
across the street and over the roofs of the city beyond. A sign 
above the window opposite reads : " Duminet Freres, Rubans et 
Velours, Soieries et Nouveautes." The entrance to the apart- 
ment is up stage at left, the door opening to a small square 
private hall. On the right is an alcove with a glimpse of a bed 
ivithin. A washstand at left, and chest of drawers at right. A door 
leads off at left into an adjoining room. This is the temporary home 
of Kleschna, an Austrian burglar, his pal Schram, who is 
assuming the role of the servant of the household, and Kleschna's 
daughter Leah. Kleschna is passing under the name of 
Monsieur Garnier, and Schram is known as Joseph. 

Lights. — Amber and white in Floats and Battens. Two open arcs with 
ground glass on back cloth. One open arc ivith ground glass off 
R. shining on to door l. 

(When the scene is shown, Kleschna, in a white shirt ivithout 
a collar, his trouser braces falling over his hips, and wearing felt 
slippers, is polishing a pair of boots at centre. He is a thick-set, 
round-headed, jovial-looking man of middle age, with a short 
grey moustache. His very white teeth are usually revealed in a smAle 
that is half-genial and half-wicked. His companion, Schram, 
a younger man, his smooth-shaven beard showing blue against his 
pale face, is sitting at a table mending a bird-cage in which are 
two canaries. Schram, quick-eyed, nervous, with a sour expres- 
sion of countenance, wears a black and yellow striped waistcoat, 
black trousers, and a short apron of dark green cloth caught up 
on one side. He is whittling at a small piece of wood which he 
tries from time to time to adjust to the bird-cage.\ Kleschna is 
puffing away at the boots.) 

Kleschna {stopping and glancing around). Scliram ! if you're 
my servant, why do you let me clean my own boots ? 

7 



8 LEAH KLESCHNA act i. 

ScHRAM {seated behind table l.c). Because you do 'em better 
than I can. 

Kleschna (laughing — good-naturedly). Good ! But after to- 
night's job I'll have a valet — a real one, let me tell you. This sort 
of thing ciirdles my self-respect. 

{He begins to sing to himself as he attacks the hoot again.) 

With a ball and chain on his left hind foot 

He's out upon dress parade. 

By the engineer and the carpenter 

His boots and his clothes were made. 

His hair was cut with the pruning shears, 

His 

{He breaks off ahrwptly and throws his boot to the ground.) 

Whew ! But that blacking stinks ! 

{Pickt iif brushes and takes them to washstand l. Puts iliem under- 
neath, fours out water, washes his hands, etc.) 

ScHRAM. M-m ! I can smell it over here ! 

Kleschna. Well, you'll do the heels. I haven't fallen so low 
yet that I'll do the heels of my boots. 

ScHRAM. Leave 'em. One would think you were going to have 
your boots photographed. 

Kleschna {as he soaps his hands). Well, Schrammy, this time 
to-morrow things'll be all right, eh ? 

ScHRAM. You never can tell. 

Kleschna. Who can't ? Why, it's like having goods delivered 
at the door. 

ScHRAM. I don't believe it. How do you know you've pumped 
the truth out of that rotten I ^ertop ? I'm telling myself he's just 
one of those fast talkers. Like as not he's led us all wrong. 

Kleschna {drying his hands on a toivel). Now then, my lad, 
don't you grow thin and peaked worrying about the refinements of 
the trade. If I haven't located those jewels to a quarter of an inch — 

{Throws down towel.) 

I'll clean your boots to-morrow as well as my own. 

ScHRAM {groivling). Oh, well ! I've known you to go wrong. 
Kleschna {with a wave of the hand). You 'tend to your canaries. 

(He finishes drying his hands, and sitting on stool near centre, he kicks 
off his slippers and puts on his boots. As he does so he begins 
humming again.) 

With a ball and chain on his left hind foot 
He's out upon dress parade 



ACT I. - LEAH KLESCHNA 9 

{He breaks off, rises, fulls Ms braces over his shoulders, and crossing 
to the door at left, puts slippers under washstand, calling.) 

Hello, there ! Leah ! 

Leah {heard outside). What do you want, dad ? 

Kleschna {knocks at door L. — peering into room). Well, bless 
me if you're not still at that hair of yours. I believe you think 
you can make yourself good-looking. 

Leah. Oh, let me alone, do ! 

(Kleschna laughs heartily and shuts the door.) 

Kleschna {ixirning). What do you think of her, Schram ? 
Trying to look handsome ? 

Schram {bitterly). Well, it ain't for 7ne she's doing it. 

Kleschna {crosses to draiver r.). No, I don't suppose it is. Poor 
old Schram ! 

Schram {impatiently). Now, chuck it, Kleschna. 

Kleschna. Well, don't blame me. I was ready to give you 
my blessing, wasn't I ? 

Schram {angrily). I tell you to chuck it, now. She threw me 
over. That's enough ! I'm equal to it. I'm faithful to you and 
faithful to her. We'll keep quiet about the rest of it. 

Kleschna. Now, don't get peevish. 

{He picks up his collar and cravat from the chest of drawers and starts 
putting them on.) 

You're the worst in the world for getting peevish. 

{Turning to Schram.) 

What do you think Leah said to me yesterday ? 
Schram {sullenly). What ? 

{He goes to work again on the bird-cage.) 

Kleschna. 'Twas when we were coming back from Saint Cloud. 
When I showed her Monsieur Sylvaine's house, and pointed out 
the balcony, with the window she's got to go through to-night — 

{He holds his chin tip high as he ties his cravat.) 

she kept very quiet. I thought she wasn't taking much interest 
in what I was telling her. Looked pale and out-of-sorts — not a bit 
like Leah. 

{He takes his waistcoat from the back of a chair, ivhere it is thrown 
with his coat, and puts it on.) 

When we were walking down the road away from the house I 
said : " What are you thinking about, little girl ? " She kind of 
blinked and coughed, and then she said : "I was thinking that 



10 LEAH KLESCHNA act i. 

sneaking into a strange house at niglit is a pretty miserable sort of 
business." 

(ScHRAM raises his head slowly, as he bends over the bird-cage, and looks 
strangely at Kleschna, who stands looking back at him ivith his 
brows contracted.) 

ScHRAM {slowly). She said that, did she ? 
Kleschna (nodding). Those words. 

(They are speaking in subdued tones.) 

ScHEAM (hoarsely, as he leans across the table). Well, I tell you 
again what I told you before, you've made a failure of her. 

Kleschna (crossing to Schram ; scowling). Made a failure of 
her. I've made a damned clever workman of her. 

Schram (snapping up his words). Clever ! What good's clever- 
ness in our business if you're sentimental ? Cleverness and senti- 
ment will keep you in prison for life. I tell you to leave Leah out 
of it, now. Let you and me work the game alone. 

Kleschna (making a sudden threatening move). Shut your mouth ! 

(Schram stands up — dodges back to l.) 

What do you mean, a cheap crook like you, telling me my busi- 
ness ? 

Schram (plaintively). Well, you told me yourself what she 
said. 

Kleschna (sharply). Never mind what she said. All you've 
got to do is to keep quiet and be ready when I want you. Fll look 
out for Leah. 

Schram (grumbling as he crosses right with bird-cage). That's 
the way you always round on me, Kleschna ! 

(Coming down r.) 

Kleschna (groxuing perfectly calm again and picking up his coat 
from chair). Well, Schram, it's because you're a fool. Come, 
tighten up your belt and look genial. You needn't worry about 
Leah. She does what I tell her to, and always will. 

Schram (under his breath). I ain't so sure. 

Kleschna (pausing as he puts on his coat, and darting a glance at 
Schram). What's that ? 

Schram (sullenly). I didn't say anything. 

Kleschna. Yes, you did. 

(He goes close to Schram and eyes him menacingly.) 

Now, look here, young man, there's one thing I want you to imder- 
stand. You musn't mutter. When you've got something to say, 
say it out. 
Schram (after a look back at him — moves to Kleschna). Well, so 



ACT I. LEAH KLESCHNA 11 

I will. And I'll say this much now ; there's none so blind as them 
that won't see. Do you follow me there ? 
Kleschna (sternly). Get it ofi your mind. 

(ScHRAM meets his gaze for a moment without thinking, then draivs 
himself wp, gives a quick little look about, crosses half over to 
Leah's room and listens, then comes back to Kleschna, who, 
without moving, has followed him about with his eyes.) 

ScHRAM (close to I^Kleschna, after a furtive look at the bedroom 
door). I'll give you a little story, Kleschna, that ought to set you 
thinking. 

(Kleschna looks at him steadily.) 

Day before yesterday I was walking with Leah along the quais 
on the left bank of the river. We stopped to look in at one of those 
book and picture booths, and Leah caught me by the arm. 

(He clutches hold of Kleschna.) 

I turned and looked at her, and she was white as paper. " Look," 
she said, " look, Schram ! " She was staring at a picture stuck up 
in the booth with a lot of others. 

(Leanhig forward and speaking significantly.) 

It was the photograph of the man who took the captain's place 
in the lifeboat, the night the Marseilles went down a year ago. 

Kleschna (frowning, as if not understanding). What d'ye mean ? 
What man ? 

ScHRAM (impatiently). I told you all about him, when Leah and 
I met you in Genoa after the wreck. How the captain was swept 
away and drowned when our boat was launched, how a passenger 
jumped into his place, took the helm, and while the rest of 'em were 
shriekin' and prayin', kept the sailors at their oars, navigated the 
boat through the night and the next day, and landed forty odd of 
us safe and sound. I told you of that man. 

Kleschna. Yes, and what of it ? 

ScHRAM. Has Leah never talked about him to you since ? 

Kleschna. No. 

ScHRAM. Well, she has to me — more than once. And when she 
did there was a look in her face I never saw before. 

Kleschna. Well, what's that got to do with now ? 

ScHRAM. She's been dreaming of him ever since. What do you 
think of a thief dreaming ? What '11 it lead to ? 

Kleschna (turning away to l.). Oh, go to the devil ! 

(Sits on edge of table l.c.) 

ScHRAM (following him up). When Leah asked the man that kept 
the booth who it was in that photograph, he couldn't tell her. Said 



12 LEAH KLESCHNA act i. 

it must be some public man — most likely an actor or painter. 
We went on at last and Leah turned towards home. But when we 
were in the Kue Saint Honor e she made an excuse to leave me. 
After a while I thought to myself I'd go back and buy that photo- 
graph and bring it to yaa. So I crossed the river again to the booth. 

{Close to Kleschna's ear.) 

Perhaps you can guess what I am going to tell you now. 

Kleschna [lolio is listening over his shoulder). Perhaps. 

ScHRAM. Yes, Leah had got there before me and bought the 
picture. That was day before yesterday, Kleschna. And yes- 
terday she said to you that sneaking into a strange house at night 
v/as a pretty miserable sort of business. I tell you now, go careful 
with that girl and don't mix her up with your best jobs. 

(Kleschna turns and looks very steadily at Schram without speak- 
ing. Then he lowers his head and, smiles at him dangerously.) 

Kleschna (l. standing up — tapping Schram on the chest ivith his 
forefinger). Now listen, Schram. {In significant tone.) The sub- 
ject's closed. You understand ? 

Schram {looking hack at him sullenly). Yes. 

Kleschna {still gazing maliciously into Schram's eyes). That's 
right. Suppose you give some seed to the canary birds. 

Schram {turning away). I gave 'cm their seed long ago. 

Kleschna {clapping him heartily on the shoulder). Good ! Now, 
cheer up, old pal ! 

(Schram goes up to table r. — attends to the birds.) 

Day after to-morrow we'll all be in Monte Carlo. Ten louis on the 
double to start with, like a drunken sailor, eh, Schrammy ? My 
God, but life's all right when you've got the price. 
Schram. When you've got it — yes. 

(Kleschna suddenly thinking of Leah, crosses to left and opens the 

door.) 

Kleschna {calling). Now then, how about those pretty curls, 
Leah ? You don't mean to say you're still — oh, little girl, good 
morning. 

(Leah enters from her room l. She merely steps into view, and stands 
balancing herself easily with her hack against the jamb of the 
bedroom door, looking brightly at her father. She is aware thai 
he is observing her appearance, on which she had been expending 
so much care. Although cheaply dressed, she looks tremendously 
neat and trim and well-groomed.) 

Leah {nodding at her father and smiling). Well ? Was it worth 
while ? 



ACT I. LEAH KLESCHNA 13 

Kleschna (warmly). Worth while ? Why, you're a perfect 
little butterfly of fashion, that's what you are. 

Leah {crossing to centre). Oh, now you're making fun of me. 

Kleschna. I leave it to Schram. How does she look, Schram ? 

ScHRAM (gruffly). What diSerence does it make ? Looking well 
ain't going to do her any good. 

(Kleschna takes a cigarette and lights it.) 

Leah (crosses to draivers r., puts hat and gloves down — brightly). 
Oh, yes, it is. When I thinki look well I've got coiu-age and — lots 
of cheek. I can do anything then. But when I know I look horrid, 
I'm afraid of everybody — as afraid as you are of a policeman, 
Schrammy. Here, button my boots for me, there's a dear. 

(She holds out a button-hook to Schram and sits doum, pushing ^a 
foot with an unbuttoned boot out to him. He kneels and proceeds 
to button her boots.) 

Kleschna (as he lights his cigarette). Well, you'll be feeling very 
fit for to-night, eh, Leah ? 

Leah (sits l.c. — looking suddenly serious). Oh — I hadn't been 
thinking of to-night. But I'll be fit enough. 

Kleschna (taking up newspaper from the table). To-day's Matin 
has got another of Monsieur Sylvaine's speeches. He gave it to 
them hot again in the Chamber yesterday. 
\ Leah. Monsieur Sylvaine ! It's his house I'm visiting to-night. 

Kleschna. Yes. You'll have to read what he says here. Why, 
he's a himdred years ahead of his time. Gad, how he lashes the 
old fogies ! And a fighter — well, you can't stop him. He'll go to 
the top here in France, he will. (Smiling.) There's a man worth 
robbing, eh ? 

(Schram listens to Leah. Kleschna lotvers his paper.) 

Leah (dreamily, with her head thrown back). I see. Well, now, 
if you put a chap like that in a corner — he'd be apt to work his way 
out — if the odds weren't straight against him — wouldn't he ? 

Kleschna (sharply). What d'ye mean ? 

Schram (getting to his feet, having finished Leah's boots, and speak- 
ing across to Kleschna). Now you've got her started wrong, d'ye 
see ; you've got her started wrong. 

Leah. No, he hasn't got me started wrong. But we're talking 
about a man that isn't a soft thing. If he should come in and find 
me at work, why 

Kleschna. Drop it ! Drop that ! Now, are you going to put 
up a lot of hurdles and make yourself jump over them 

(Leah rises — crosses to l.) 

This is the straightest going you ever had — easier than the job in 



14 LEAH KLESCHNA act i. 

Vienna. Every servant sleeps on the top floor of the house — a 

mile away from you. 

Leah. Yes, but Monsieur Sylvaine is in the next room, 
Kleschna {rises — vehemently). What if he is ? 

{Gets behind table — opens drawer.) 

What if he comes in on you ? There you are with a barker in your 
hand. 

{He pulls open the table drawer, catches up a revolver and pushes it 
into Leah's hand.) 

Look there ! There you are with a barker. Now then, what 
can he do ? 

■ Leah {her eyes flashing — throws pistol on table). But I won't 
shoot. I've told you a hundred times I wouldn't shoot. 

Kleschna. Who wants you to shoot ? You won't have to 
shoot. When he sees the barker it's a hundred to one he'll run 
back to his room. Then you're out of the window and away with 
the jewels. But say he stands in front of the gun and don't blink ; 
you've got him where you like just the same. Look at him ; a 
man that's going to be married in a week, and you in his rooms at 
two in the morning. There you are, a good-looking, well-dressed 
girl spending the evening with the best-known Deputy in France ! 
He'll have to let you go. He couldn't face it, any more than the 
old man in Vienna could when you told him to call his wife in and 
introduce you. This Sylvaine 's a quick thinker, and if he tumbles 
in on you, he'll know the best way out of the scrape is to say nothing. 
Give him the blufi straight and hard, the way I taught it you, 
and you'll see him fold up. 

{Comes in front of chair l.c. — picks up paper.) 

Now what are you whining about ? 

Leah {replacing the revolver in the drawer). I'm not whining. 

Kleschna. Yes, you are whining. Now stop it ! 

Schram (c. — grumbling). Well, the old way's good enough for 
me — without a woman doin' the dirty work. 

Kleschna. There now, Schram, keep out. I'll do the talking. 
You 'tend to your canaries. 

{Sits L.c.) 

Schram {angrily). I tell you I've 'tended to 'em. I've given 
'em seed and water ; what more do you want ? 

(Leah breaks into a merry laugh.) 

Leah. Ha, ha, ha, ha ! The tender-hearted burglar and his 
pet canaries ! Ha, ha, ha ! 



ACT I. LEAH KLESCHNA 15 

ScHRAM. What are you laughing at ? 

Leah {sits l. — stopping herself with a sort of iveary expression). 
Oh, I don't know. 

(ScHRAM goes up to cupboard and takes a piece of sugar from basin 
and puts it between the wires of cage — sits up r.) 

I thought it was funny ! But I dare say it isn't. {She tosses her 
head.) I tell you, dad, I believe it's the dark I don't like. I've 
grown frightfully fond of the daylight lately. 

Kleschna {glancing up). Well, I'll never believe you're afraid, 
Leah. 

Leah {knitting her broivs). No, I'm not afraid — not when I get 
started. 

Kleschna {resuming his paper). Well, you're welcome to the 
daylight. 

Leah. Am I ? I can't think I'm so welcome as most people. 

Kleschna {turning his head slowly and looking at her). Now then 
— drop it — drop it ! 

Leah {turning questioning gaze). What ? 

Kleschna. The look and the words. They don't belong to 
you. 

(Leah looks slowly away again.) 

{He contemplates her, then in quiet but stern tones.) 

Leah, don't grow soft. 
Leah. No danger. 

{Rises — crosses in front and up c.) 

I wonder if Sophie and Valentin aren't coming up to-day to say 
good morning. 

{She turns up.) 

I'll call over the balcony. 
Kleschna. Oh, let them alone. 

{Bell ready.) 
Leah. I shan't. 

{She steps through a window on to the balcony and calls over.) 

Sophie-e-e ! Sophie-e-e ! 

Sophie {heard outside). Ah, good morning, Leah ! 

Leah. Good morning, Sophie ! Aren't you and Valentin com- 
ing up to-day? 

Sophie. Immediately, my dear Leah ; we are just starting. 

Leah. Hurry, Sophie. 

{She comes back into the room.) 



16 LEAH KLESCHNA act i. 

Kleschna {rises, crosses to chair l. — sits). Now, what should 
you want two chatterboxes like that bobbing in here every day 
for? 

Leah. Why, they're lovely ! They're just like two little spar- 
rows. I always feel like throwing crumbs on the carpet for them. 

{LooJcing around.) 

By the way, where are the canaries ? Now, Schram, I won't have 
them put away of! there in the corner. And my marguerites— 
where are theij ? 

{She espies them on the imsh stand.) 

Ah, now, that's too bad. 

{She (joes and gets the vase of floioers.) 

Do let us have the things that sing and bloom out here. 

{She places the flowers on the large table, and goes to get a glass of water 
to pour over them.) 

Kleschna. "Well, your two little friends downstairs had better 
get married, I should say. 

Leah {as she sprinkles the marguerites). Oh, two naughty little 
children like that ! They'd look silly married. I think they're 
muoh more natural as they are. 

{The door bell rings.) 

There they are, Schram ; let them in. 

(Schram exits.) 

(Leah bends over her flowers.) 

Oh J here's a poor little broken one. 

{Door slam.) 

{She detaches one of the marguerites and begins plucking its petals.) 

{Enter Valentin Favre and Sophie Chaponniere, followed on by 
Schram. Valentin is a charming little youth with a faint 
shadow of a moustache, his hair worn a bit long, a soft, broad- 
brimmed hat jammed on one side of his head, and with clothes of 
an ultra- Parisian cut. His companion, Sophie, is a veritable 
Mimi Pinson, a true flower of Montmarire, petite, chic, and naive.) 

(Schram shuts the door from the outside.) 

Sophie {brightly). Good morning everybody ! 
Valentin. Good morning, mademoiselle ! Good morning, 
monsieur ! 



ACT T. LEAH KLESCHNA 17 

Leab (they kiss). Ah! You were going out without coming to see 
me this morning. 

(Sophie crosses behind Leah to r.) 

(Sophie and Valentin protest valiantly.) 

Valentin. Oh, Mademoiselle Leah, do not say so cruel a thing. 
For an hour, I assure you, we have been listening to hear your 
delicate footfall above our heads. Each instant I would say : 
" Hark, my adorable Sophie, is not that she moving now ? " 

{He strikes an attitude of listening.) 

Sophie. And I would say : " No, impetuous Valentin, you 
have no ear for music. Leah's step is like the blossom which falls 
from the cherry tree. That is not she ! " 

{Moves down r.) 

Valentin. And then we would listen again. For the twenty- 
fifth time we were listening, when we heard your welcome voice 
calling down from the balcony, and then we hastened like the 
breeze. 

{He gallantly kisses her hand.) 

Permit me, mademoiselle. Now the day is well begun. 
Leah. Doesn't Sophie look nice to-day, dad ? 

(Sophie is coquetting about, studying the hang of her skirt.) 

Kleschna {who has been loatching Sophie). Well, but why does 
she curvet about like that ? 

Sophie {archly). For you to admire my frock, monsieur. Don't 
you find it sweet ? 

{Goes up R. to c. Leah moves down r., looking at Sophie's dress.) 

Valentin. Would you not say Paquin at least, monsieur ? 
But no ! Chaponniere ! It is the unparalleled Sophie who has 
made it all with those dainty fingers. Pardon ! 

{He lifts Sophie's Jiand to his lips.) 

I cannot resist those fingers. No matter who may be looking, 
monsieur, I do not attempt to resist those fingers. 

Leah. Now, my father is going to ofier you a glass of Madeira. 

Valentin. No, please, please. My Sophie and I must at once 
hurry away to the taverne. I have to write my bouquet of fait 
divers for L'Etoile de Paris, and we must have the mind quite clear. 
Is it not so, my Sophie ? 

Sophie. Perfectly so, my Valentin. 

B 



18 LEAH KLESCHNA act i. 

(Leah and Sophie withdraw up stage a bit and chatter together sotto 

voce.) 

Kleschna. Well, have they raised your salary yet on your 
paper, my friend ? 

Valentin (sadly). Alas, no ! The editor is a man of no sym- 
pathy. We sit all day at our table at the taverne, Sophie and I, 
and we write fait divers which are the talk of the boulevards. But 
the editor does not value them— 

(Leah and Sophie co7ne forward.) 

— and yet my salary remains at sixty francs a week. Imagine, 
Mademoiselle Leah, sixty francs a week, when my exquisite^Sophie 
must wear these palatial under 

{He starts to lift Sophie's skirts, hut she stoops and slaps his hand away. 

Sophie {scandalized). But, my Valentin, the world mustn't 
look at those. 

Valentin {with a shrug). Ah, well, when they are so beautiful. 

(Leah sits on stool c. Sophie sits on chair r.c. — Sophie , shows her 
binder skirt to Leah.) 

Kleschna. Sixty francs a week. Why, you can live like robins 
in a nest ; and, what is it you say ? — blend with nature. Do you 
continue to blend with nature, my young friend ? 

Valentin {hack of chair l.c). Monsieur, is it not the science of 
life ? Only those who blend know the perfect ecstasy. Blend — 
ripple — of!er not the sharp edge 

Kleschna {laughs). Yes, but get even with your enemies at 
the same time, eh ? 

Valentin {facing round). Perfectly, monsieur. You have fin- 
ished my phrase. Get even always with your enemies. And 

{He stops.) 

Sophie {leaning forward). You stop, my Valentin. Why do you 
not go on ? Tell them of your enemy. 

Valentin {goes toivards Sophie — troubled). Hush, my adored 
Sophie. 

Sophie. He doesn't like to tell you, Leah, because his enemy is 
— is 

Valentin {sharply). Sophie ! 

Leah. Tell me, Sophie. 

Sophie {hesitating). Well, Valentin has made an enemy of your 
friend. 

Leah {growing grave). My friend ? 

Sophie. Monsieur Berton. 

(Kleschna lowers his paper and listens.) 



ACT I. LEAH KLESCHNA 19 

(Valentin is much disturbed and tries to hush Sophie.) 

Leah [rises). But Monsieur Berton is not my friend. 

(Goes sloivly up c.) 

Valentin {astonished). Not your friend ? Does he not come here 
every day to see you ? 

Leah. Yes ; and I hate him. Dad knows I hate him. 

[Up to windoiv r.c.) 

Valentin {looks at Kleschna— /o?//m%). Ah ! 

{Crosses to Sophie.) 

Did you hear that, Sophie ? He is not her friend after all. Now 
I am happy. Now I will tell you all. 

(Leah comes down c.) 

{Crosses to table l.) 

Listen too, monsieur ; I will tell you why Monsieur Berton is my 
enemy and why I will get even. 

{Turns to Leah.) 

Oh, it is a shocking affair ! 

{Crosses to Sophie.) 

You see this left elbow of my delicious Sophie 

{He lifts Sophie's arm and points at the elhnv.) 

Kleschna. Yes. 

Valentin. It is a most tempting elbow, you will admit ; but it 
is for me only. And would you know what this Berton has dared 
to do ? He has dared to pinch that elbow — pin^ch it. On, mon 
Dieu ! never shall I sleep until I repay that insult. 

Kleschna {dryly). And quite right. You mean to say he pinched 
that lovely elbow ? 

Sophie. It was frightful ! 

Valentin. It was tragical, monsieur ! 

Leah. When did it happen. 

{Comes to chair l.c.) 

Valentin. Yesterday in the hallway. He entered from the 
street, immediately behind Sophie, on his way up to see you. It 
was then he pinched that wonderful left elbow ! 

Leah. What did you do, Sophie ? 

Sophie {illustrating). I turned on him like that, and I said, 
" Pig of a man ! " just like that — " Pig of a man ! " 

Kleschna {dryly). And then he kissed you. 



20 LEAH KLESCHNA act i. 

Sophie {rises tvith a junif). Good heavens, no ! 

(Leah crosses to Sophie behind Valentin.) 

Valentin {crosses to table l. — gasping). Kissed my Sophie, mon- 
sieur ! Had he done that he should have been dead by now. 

Kleschna. Tut, tut ! I thought you never lost your temper. 

Valentin {quieting down). Quite right, monsieur. You do well 
to remind me. That is not to blend with nature. One does not 
lose one's temper. But I will get even — smoothly 

{Turning.) 

(Sophie takes his arm.) 

Sophie, we shall go to the taverne with hearts that dance like 
thistledown. For we are to revenge ourselves upon one who is 
detestable to us. And now we go. 

{He starts across.) 

Leah {foUoiving him wp). Just one glass of Madeira, Valentin. 
Valentin. No, I beg. It grows late, mademoiselle, 
Leah {eagerly grasping Sophie's hands). Sophie ! 
Sophie. No, dear ; I must go with Valentin. But we shall 
return. Early to-morrow. 

Valentin. Au revoir, Mademoiselle Leah. 

{He hisses her hand.) 

Au revoir, Monsieur Gamier, 

{Goes to door l.c. — opens it.) 

Leah {kissing Sophie's cheek). You will come early to-morrow 
and stay longer ? 

Sophie. At ten o'clock and stay until twelve. There ! Au 
revoir. 

{They start towards door.) 

Kleschna. Wait a moment. Which elbow was it ? 
Valentin. The left elbow. This one 

{Bringing her down.) 

See ? Is it not beautiful ? Pardon ! 

{He kisses the elboiv.) 

I can never resist that elbow. If the whole world is looking, mon- 
sieur, I cannot resist that elbow. 

Sophie {laughing gaily). Au revoir ! 

L^Aa{calli7ig after them). Good-bye, Sophie. Remember! Come 
early to-morrow. 



ACT I. LEAH KLESCHNA 21 

(Sophie and Valentin exeunt l.c.) 

(Leah waves her hand after them and closes the door reluctantly. She 
turns away and sighs.) 

{Door slam.) 

Kleschna {crossing in front of table — sits l.c). Whew ! What 
a dust they kick up, those two whirlwinds of yours. 
Leah. And isn't our Raoul Berton a beauty. 

{Picks up stool c. — takes it to r. by drawers.) 

He comes here to see me and stops on the stairs to flirt with our 
neighbours. Sophie called him just the right name — " Pig of a 
man!" 

{She crosses to mirror on drawers and arranges her hat.) 

(ScHRAM enters l.c. — comes down c.) 

Kleschna {observing her). I say, were you going out ? 

Leah. Yes. 

Kleschna. But Berton will be popping in presently. It'll 
be your last chance to see him. 

Leah {glancing round at her father). Well, thank heaven ! If I 
can miss him altogether it will be a bit of luck. 

Kleschna. Oh, well, now ; what do you want to go to th 
trouble of hating him for 1 He gave me all my points about tli 
jewels. Remember that ! 

Leah. Yes. That's enough for you. But he's got a flat over 
in the Rue Martigny and expects me to go live in it. 

{Turning to go up L.c.) 

So I feel different. 

ScHRAM. If you could live with a fellow like that, Leah, I'd kill 
you. 

{Goes up R.) 

Leah. And I shouldn't blame you. 

{She turns and crosses to chair L.c.) 

I say, dad. If I do see Berton to-day, will you let me slang him 
just once. 

(ScHRAM comes doivn by drawers r.) 

Kleschna. No ! 

Leah. Why not? You've made him tell all he knows. And he 
ought to get it. He's a blackguard. If he knew who we were and 
insulted me, I wouldn't say a word. But he hasn't any reason to 
believe we're not fairly decent. And it's just one idea all the time 



22 LEAH KLESCHNA act i. 

with him. {Shivering.) Brr ! "We're bad enough, but that kind's 
worse than we are. 

{She sits on chair c.) 

Kleschna {rises). Look here, Leah, I don't like your language. 

Leah {glancing round inquiringly at him). My language ! 

Kleschna {crosses to Leah — perfectly good-humoured and calm; 
repeating her words). We're bad enough, you say. Ain't you satis- 
fied with what we are ? 

(Leah does not reply and he crosses nearer to her.) 

Did it ever occur to you I might have made a schoolteacher 
of you — or a typist ? Well, I thought too much of you. Haven't 
I given you a good education ? 

Leah. Better than I'll ever need, I expect. 

Kleschna. Oh, you do ? Now, don't put on airs, Leah ; I don't 
like it. 

Leah. I don't understand. 

{Bell ready.) 

Kleschna. Try. Remember this when you're talking to me — 
the profession you're in stands high — in my estimation. 

{He continues to look at her averted face.) 

Leah {narroiving her eyes). What are you getting at, dad ? 

Kleschna. I'm getting at this. Stop your dreaming. Young 
Berton is good enough for my purpose now and good enough for 
yours. Perhaps you wouldn't buy his photograph if you saw it in 
a shop. 

(Leah flings up iter head and her eyes harden. Then she glances 
quickly across at Schram, who has been listening furtively down 
R. Kleschna goes on.) 

But he fits in, d'ye see ; he fits into the game. 

Leah {softly). The game. 

Kleschna {with a laugh). The most popular game on earth 
to-day — doing your neighbour. 

Leah. Do so many people play that game ? 

Kleschna. The world over. Some of 'em go at it roundabout, 
and call it business principles. We fancy fellows go the straight 
course, that's all. 

{He turns and goes up and glances again at his newspaper.) 

Leah {presently, in a peculiarly gentle voice). Father, I wish — I 

wish you'd never 

{She breaks off as he glances round at her.) 



ACT I. LEAH KLESCHNA 23 

Kleschna {boldly). Well ? 

Leah {after looking at him). Nothing. 

{She gets up and crosses l.) 

{The door hell rings.) 

ScHRAM {quietly). That's Berton. 

Kleschna {looking at his watch). Yes. It's his time. 

ScHRAM. Shall I let him in 1 

Kleschna. Certainly. 

{Exit ScHRAM L.C.) 

Leah {taking up her gloves from the table L.). You'll be lucky if 
I don't slang him. Yes, you will. I've got to. 
Kleschna. Don't you dare ! 

{Door slam.) 

Be sensible now, Leah, be sensible. 

(Up to windoiv r.c.) 

(Re-enter Schram, followed by Raoul Berton. The latter is a young 
man of most dissipated aspect, tvith a pale evil countenance and 
an air of sensual languor. He is attired with great care in a 
morning suit, wears a characteristic top-hat, is gloved and carries 
a handsome cane. His shoulders stoop, his eyes suggest permanent 
inebriety, and his whole appearance is bad. He does not say 
good morning on entering, but, without seeing Kleschna, crosses 
with a somewhat sneaky swagger to Leah and begins looking her 
up and dwon through his glass as if she were a filly. Leah 
stands rubbing on her gloves and smiling to herself.) 

Raoul {sitting on edge of table — in a metallic voice which has some- 
thing of a snarl in it). Ah ! Where are you going ? 

Leah {quietly). Out. 

Raoul. The devil you are. Then I'll go with you. 

Leah {turning her head and looking at him with insolent calmness). 
No ; you can't. 

^Aovh {harshly). There you go. I knew you'd say that. Always 
" You can't " — •" You can't." I'm tired of it — tired of hearing 
you say you can't all the time. 

(Kleschna gradually coming down.) 

Leah {raising her broivs). Tired ? 

Raoul. Why shouldn't I be ? Do you think a man's going to 
be made a 

Kleschna {down by chair r.c. — interrupting). Won't you sit 
down, monsieur ? 

(Raoul looks slowly round and discovers Kleschna.) 



24 LEAH KLESCHNA act i. 

Raoul (disagreeably). Oh ! Are you there, Gamier ? 
(Crosses behind Kleschna to r.) 

Kleschna (cheerfully — crossing to bach of chair l.c). Yes. Lin- 
gering over the morning paper. I've just been reading Monsieur 
Sylvaine's speech in the Chamber yesterday. 

Raoul (moving down r.) Oh, damn Sylvaine ! I hear nothing but 
Sylvaine nowadays. 

(Coming to Kleschna.) 

What I want to know is when you are going to send Leah over to 
my rooms in the Rue Martigny ? 

Kleschna. Why, I shan't send her. It's for her to go — when 
she likes. 

Raoul (to Leah). There you are. What the devil are you hang- 
ing oi! for ? Now, Garnier, I thought this was all imderstood a 
fortnight ago. 

(Turns away to r.) 

Leah (out of patience — turns to her father). Oh, really, dad, you'll 

have to let me 

Kleschna (quickly). Wait — wait 



(Leah goes up c. Schram looks at her.) 

Monsieur, you're probably not aware of it, but you're putting 
matters very bluntly this morning. 

(Leah comes down by chair r.c.) 

Raoul. That's what I came in for — to put matters blimtly. 
There are my rooms with nobody in 'em. (To Leah.) I sent 
Chiquette away when I met you — bundled her out within two days. 
Well, I've invited some people to sup with me on Saturday. I 
want to give 'em a surprise. I want to say : " Messieurs and mes- 
dames, la belle Chiquette has gone, but here is her successor — per- 
mit me to present my " 

(Schram, whose rage has overcome him, makes a sudden fierce dash 

at Raoul.) 

Kleschna (with great force). Schram ! 

Raoul (startled — moves quickly to l.) Eh ! What's that ? 

(Schram has stopped- short just behind Raoul, prevented by Kleschna's 
loud shout from throttling him. Leah has stepped back fright- 
ened. Raoul does not see the significance of the interruption.) 

Kleschna (quietly — to Schram). Joseph, set out the glasses 
and liqueurs, 

Raoul (staring at Schram). I say, Garnier, what a damned 
villainous-looking servant you keep. 



ACT I. LEAH KLESCHNA > 26 

Kleschna {smiling). Well, lie's not beautiful, but he's good. 

(Sternly to Schram, who stands sullenly, looking at Raoul.) 

Now then, stupid ; move, move ! 

(Schram goes to cwpboard up r. for things.) 

Monsieur Berton, I think we're all a bit nervous this morning. 
What we need is a nice sunshiny glass of absinthe ; eh, what do 
you say ? 

(Schram puts tray on table l. — takes pot of marguerites and puts it 
on washstand — then goes over to r.) 

Raoul. Go ahead. But what I want to know 



Kleschna (pouring out wine for Leah — standing by chair l.c. ; 
briskly). Yes, we'll discuss all that over the glasses. Leah, you'll 
sit down and have a drop of cassis, like a good little girl. 

Leah (comm^ toe). Oh, I mustn't. (Starts up.) I've got to 

Kleschna (aside to her). Sit down ! Do this my way 

(Leah sits l.c. — picks up paper. Kleschna puts her glass on table 
— pours out absinthe.) 

(Turning.) 

Now, monsieur, draw up a chair, and mind you leave nothing in 
the bottom of your glass except your troubles. (Assuming a 
great air of camaraderie.) These are what I call the genial moments 
of life. A friendly cup, a good story veiled in cigarette smoke — 
pass the cigarettes, Joseph — 

(Schram gets box of cigarettes from table up r.) 

— and what more does one need ? 

(They take their places around the table, and as Kleschna prepares 
absinthe for himself and Raoul, arranging the dripping spoons 
with the sugar, etc. Schram p^cts cigarettes on table l.) 

(Forcing the cordial tone.) Ah ! now here we are all cosy. Tell me. 
Monsieur ! I presume the preparations for mademoiselle, ^your 
sister's wedding, continue to progress smoothly. 

(Schram sits up r. attending to the birds.) 

Raoul (tvho declines to be led into a genial mood). I think it likely 
they do. That's nothing to me. Look here. Gamier, you've lately 
taken an extraordinary interest in my sister's wedding. 

Kleschna. Ah, monsieur ! Since she marries the distinguished 
Monsieur Sylvaine. 

Raoul. Nonsense ! Since Monsieur Sylvaine marries Mademoi- 



26 LEAH KLESCHNA act i. 

selle Berton, daughter of the distinguished General Hyppolyte 
Berton. 

Leah (dryly). And sister of the ultra chic Monsieur Raoul 
Berton. 

Raoul. Eh ? 

Kleschna (quickly). Well, you'll admit a wedding is always a 
charming subject. (TaJces a cigarette.) Think of the palpitating 
bride standing at the threshold of her new life, waiting — er — wait- 
ing 

Raoul. Waiting for the presents to pour in. 

Kleschna (lights cigarette — smiling). Ah, well, that is a very 
interesting part of it. And Mademoiselle Berton, we may be sure, 
will not wait in vain. Consider the groom's splendid gift alone — 
the famous Sylvaine jewels. 

(Leaning across with a certain anxiety towards Raoul.) 

I think you said they were to be sent to Monsieur Sylvaine 's house 
yesterday. 

Raoul (sullenly). M-m ! I was there when they arrived from 
the deposit. 

(Kleschna holes at Leah. Leah lowers the paper.) 

Silly nonsense, a quiet little churchgoer like my sister having a 
whole jeweller's shop like that. / could do something with 'em if 
I had a chance. 

(Touches Leah tvith his stick. She shrinks from him.) 

Eh, Leah ? If you were chatelaine in the Rue Martigny. 

Leah (musingly). I've been wondering about Monsieur Sylvaine. 
What is he really like ? 

Raoul (puts stick on table). He's good — and being good he's 
dull. A plodding, ambitious, moral prig. Full of highfalutin 
notions ; believes in people. Doesn't drink, doesn't keep a mistress. 
He's what I call a rotter. 

Leah. Oh — he's what you call a rotter. 

Kleschna. Well, he's a fighter, Berton, you'll admit that. He's 
got a lot of pluck. 

Raoul (angrily). Pluck ! There never was a good man yet had 
any real pluck. Show me a bad one and I'll show you a brave one — 
every time. Look at the case of the charity bazaar fire a few years 
ago. 

(Schram rises and listens.) 

A man went in through the flames a dozen times, and brought out 
a woman every time. No one fought like him ; such nerve was 
never seen in Paris. And what was he 1 A convict ; a damned 



ACT I. LEAH KLESCHNA 27 

burglar named — what was his name ? {Suddenly.) Kleschna — 
that was it — Kleschna. 

{There is a pause. Kleschna sits impassive, looking straight before 
him. Leah does not make a motion. Schram, hovering in the 
background, looks from one to the other.) 

Kleschna {suddenly). Permit me, monsieur. 

{He proceeds to fill up Kaoul's glass ivith ivater.) 

(Leah, coming back from her reverie, rises suddenly — goes c.) 

Leah. Well ! I must be oS. 

Raoul {jumping to his feet — crosses to c). Well, before you go, 
give me some sort of an answer. Once for all, now. When do you 
move in? 

Leah. When will I 

{A great anger rushes into Leah's face. She seems about to turn in 
a passion upon Raoul, but then gradually controls herself, and 
at last, throwing back her head, gives it an odd little shake and 
breaks into a tinkling amused laugh.) 
Raoul. Well ? 

Leah. When will I 

{She pauses.) 
Raoul. Move in. 
Leah {smiling). Oh, yes. Well, suppose we say to-morrow. 

{Goes up c.) 

Raoul {follows her— eagerly, after he has absorbed this). Do you 
mean it, Leah ? Will you come to-morrow ? 

{He reaches out and places his hands on her shoulders, letting them 
glide to her elbows. She steps back away from him.) 

Leah {casting laughing glances at Kleschna anfZ Schram). Well, 
now, you expect me to-morrow. Have a dainty dinner served with 
a place set for me. Just you and me alone, eh ? Wait for me, 
cher ami, till I come. 

Raoul {excitedly). Yes, yes. At eight, eh ? I shall be listening 
for your knock at the door at eight. 

Leah. That's right. Listen. Wait in front of the fireplace at 
eight to-morrow and listen — listen, Au revoir, monsieur. 

{With a comical grifnace she turns and passes quickly out.) 

(Schram, in the background, is well-nigh dancing with malicious glee.) 

Raoul {rubbing his hahds together — going down r.) Ah ! Now 
then! 

{Door slam.) 



28 LEAH KLESCHNA act i. 

Kleschna {rises and goes towards Raoul). There you are, 
monsieur. Victory, eli ? You see, Leah only needed a little 
wooing. 

Raoul {as he walks down r.). Ah, good — good ! 

{Comes near Kleschna.) 

Garnier, I was beginning to think there was some one else. 
Kleschna. Who else ? 
Raoul. Another man. 

Kleschna. She don't know any other man. 
Raoul. Well, she's held of! devilish strong 

{Bell ready.) 

Kleschna. It's the way of women, monsieur. You've got to 
fight for 'em when they're worth winning. 

Raoul {bluntly). Are you satisfied ? 

Kleschna. Well, it's not for me to discuss the matter too closely, 
monsieur. One thing I say to myself is — you're a man of the 
world — you're practical — and you'll know how to manage Leah. 

{Turns up c.) 

Raoul {crosses hack to table L.—jmts hat down — reverting to his 
triwnfh). To-morrow ! To-morrow ! Just she and I alone, eh, 
Garnier ? No interruptions. M-m ! There's nothing like the 
first rendezvous. 

{He drinJcs the absinthe — sits L. of table.) 

{The silence is presently broken by the loud ringing of the door bell. 
Kleschna and Schram exchange glances.) 

Kleschna. Unless it's important, Joseph, I'm not at home, 
{Comes to chair l.c, takes his glass and sits l.c.) 

(Schram exits l.c.) 

I don't want our pleasant half-hour disturbed, monsieur. Now we 
were speaking of Monsieur Sylvaine. If he's the staid, steady- 
going man you describe — 

{Door slam.) 
— no doubt he'd keep good hours. 

(Schram has entered hastily, shuts the door, and, with a look of alarm 
on his face, he hands a visiting-card to Kleschna.) 

Kleschna. I dare say he'd never be out of his bed at midnight. 
That moral type is — eh, what's this ? 

{Reading the card.) 

Monsieur Paul Sylvaine. 



ACT I. LEAH KLESCHNA 29 

Raoul {getting to his feet.) Eh, what ! Sylvaine ? 
{Gets behind table.) 

What's he doing here ? You don't know him, Gamier ? 

Kleschna. Not in the least. 

Raoul. Then why is he— ha ! I know. He's meddling. He's 
done it before. He's spying on me. Send him away. 

Kleschna {quietly rises). Wait, wait ! Wouldn't it be better to 
see him ? 

Raoul {sharply). No ! I won't have him find me here. He'll 
blab it all to my father. They're all the time trying to manage me 
between 'em. Send him off, I tell you. 

Kleschna {picks up hat and stick). Now, monsieur, he needn't 
find you. But let me talk with him. He won't get anything out 
of me — 

{Opens door L.) 

— and you'll be in this room over here, safe as possible. 

Raoul. But why see him at all ? 

Kleschna. To send him about his business. Now then, mon- 
sieur. 

{He holds the door open at left for Raoul to pass through.) 

Raoul {taking up his hat and stick). Well, I can't see it. But you 
Won't let him know, eh ? 

Kleschna. I'll let him know nothing. 

(Raoul disappears and Kleschna shuts the door. Pause.) 

{To SCHRAM.) 

Now then, show him in. 

{Noticing Schram's frighlemd face.) 

What's the matter ? 

ScHRAM. Kleschna ! 

Kleschna. Well, what ails you ? 

ScHRAM. It's him ! 

Kleschna. Who % What do you mean ? 

ScHRAM. This Sylvaine 's the man that was on the Marseilles 
that night — the man that took the captain's place in the lifeboat. 

Kleschna. Nonsense. 

ScHRAM {sharply). Yes, I could never forget him. You're going 
to rob the man that saved us — that saved Leah, 

Kleschna {turning aivay from him angrily). What difference 
does that make ? 

{To himself as he crosses to r.) 

But what has he come here for ? What's his game ? 



30 LEAH KLESCHNA act i. 

ScHRAM, Don't meddle with him, Kleschna. There won't be 
any good come of it. 

Kleschna (waving him aside). Keep quiet, you fool. 

(Suddenly, after deliberating intensely.) 
Show him in. 

SCHRAM. But 

Kleschna. Shut up ! Show him in. 

(ScHRAM shaking his head, exits l.c.) 

(Kleschna rapidly tidies the table, then gets bach to r.c. Schram 
re-enters, followed by Paul Sylvaine. The latter is a 7nan of 
peculiar elegance, grace and calnine"s. In a lesser person the 
close-fitting overcoat, the high black cravat, the carefully placed 
top-hnt and the dangling eyeglass would appear affectations, but 
they do not detract from Sylvaine 's power. He enters, and re- 
moves his hat, boiving ivith a slight smile to Kleschna, who 
stands ready to greet him.) 

(Schram removes tray — jmis it on table up r.c.) 

Sylvaine. Monsieur Garnier ? 

Kleschna (boiving). At your service. Have I the honour to 
receive Monsieur Sylvaine, of the Chamber of Deputies ? 
Sylvaine. The honour, monsieur, is slight. 
Kleschna. Pray be seated. 

(Sylvaine sits l.c. Kleschna motions Schram to get out.) 

I am at a loss, at a great loss to know 

(Kleschna pauses indefinitely, and motions to Schram to withdraw, 
which the latter does with a backward look of regret. Sylvaine 
sits in chair by the table. He makes no unnecessary gestures, 
goes through no formalities of re^noving his gloves or unbuttoning 
his coat, but sits with his hands clasped over the top of his walking- 
stick, after placing his hat on the table. Kleschna, with a trifle 
of aivkwardness, sits opposite.) 

Sylvaine. I shall state my business as briefly as I may, monsieur. 
Pray have a little patience, as it must be treated with some pre- 
cision. It's of a somewhat delicate nature. 

Kleschna. I shall hear you with interest, Monsieur Sylvaine. 

Sylvaine. The matter concerns — probably you will have guessed 
whom it concerns — a young friend of mine, Monsieur Raoul Berton. 

Kleschna. I know Monsieur Berton slightly. 

Sylvaine. Yes. He's a frequent visitor here. Monsieur Gar- 
nier, I don't yet fully know the man I'm talking to. Looking at 
you, I must credit you at once with exceptional intelligence. 

(Kleschna smiles.) 



ACT I. LEAH KLESCHNA 31 

I shall say a great deal to you, but I count upon your understanding 
even more than I say. 

{He pauses and then goes on.) 

The father of Kaoul Berton is the General Hyppolyte Berton. 

Kleschna. Yes, monsieur. 

Sylvaine. a very great man in France, a man whose honour 
is very precious to him. 

Kleschna. I understand, monsieur. 

Sylvaine. That honour is not altogether in his own keeping. 
The world appears to believe that a man may be disgraced if his wife 
or his child does a discreditable thing. In a country where political 
capital is manufactured from every conceivable material, this condi- 
tion particularly aflects a man in the position of General Berton. 

Kleschna. You will pardon me, monsieur, but what you say 
does not appear to concern me. 

Sylvaine. It does, Monsieur Gamier, it does. I depend upon 
,^ you to draw a certain conclusion from it. 

{He pauses — -then continues.) 

I beg to say further that Madame Berton, Raoul's mother, is an 
invalid, and that if the despair of which she is the victim is in any 
way increased, she must surely die. 

Kleschna. Do you think I have any influence over Monsieur 
Raoul Berton ? 

Sylvaine. I do not permit myself to think too closely upon 
the point. I must appeal to your intelligence to understand that 
I have various motives in seeking this interview, some of which I 
do not state. 

Kleschna. For one thing, you are betrothed to Mademoiselle 
Berton. 

Sylvaine. I say I do not state all my motives in coming here. 
But on behalf of General Berton and of Madame Berton, I venture 
to suggest, Monsieur Garnier, that you leave Paris to-morrow — 
and take your daughter with you. 

Kleschna (stiffening). This is plain speaking. 

Sylvaine. Doubtless. Perhaps it will not be necessary to 
speak more plainly still. I have stated an unfortunate situation. 
Possibly you will be willing to make some slight sacrifice in order 
to improve it. 

Kleschna. On what ground ? For people that I've never seen. 

Sylvaine. On the ground, let us say, that the people you have 
never seen need that sacrifice. 

Kleschna {with a movement oj impatience). Ha ! From reading 
your speech of yesterday, Monsieur Sylvaine, I should have judged 
you to be a man of sounder intelligence than — than I am now find- 
ing you. 



32 LEAH KLESCHNA act i. 

Sylvaine. All ! You read my speech. All of it ? 

Kleschna. Well, I had not quite finished it when you came in. 

Sylvaine. No. Then probably you had not reached my re- 
marks on the subject of — crime in France. 

Kleschna {looJcing keenly at him). Crime in France ! 

Sylvaine. My speech led up to that at the end. Are you at all 
interested in the subject of criminology, monsieur ? 

Kleschna (sternly). Monsieur Sylvaine ! 

Sylvaine [quietly). Probably you would find it too depressing. 
It is — so long as we believe that crime must persist for ever, so long 
as we are convinced that its only cure is in punishment. (Smiling.) 
Don't be alarmed, Monsieur Garnier. But you mentioned my 
speech, and that part of it interested me more than the rest. My 
colleagues in the Chamber smiled at me yesterday when I ventured 
to assert that the time would come when there would no longer be 
any prisons in France. And probably you will smile, too. Monsieur 
Garnier. 

(He pauses and looks steadily at Kleschna). 

And yet you don't smile. You don't smile. 

(Kleschna, pale and stern, has been gazing fixedly at Sylvaine. 
He now leans across the table towards him.) 

Kleschna. Monsieur Sylvaine, will you permit me to say that 
this interview appears to be leading us into extraordinary fields. 
Why do we prolong it ? 

Sylvaine (rising). I beg your pardon. 

(They rise.) 

We shall not prolong it any further. I began, monsieur, with the 
conviction that you Avere a man of unusual intelligence. I am con- 
vinced I made no mistake in forming that opinion. 

(Crosses to r.c). 

Well — of a thoroughly intelligent man I have the highest hojies. 
He will usually do the clever thing, often the good one. Moreover, 

a man of your courage 

Kleschna (comes to c. — sharply). Courage, monsieur ? 

(Curtain warning.) 

Sylvaine. I refer to your glorious conduct at the fire in the 
charity bazaar a few years ago. It is not remembered by the world, 
which forgets so easily, but I treasure it in my memory as a model 
of human nobility, I am proud to have met the man who could 
be equal to such an achievement. Monsieur Garnier, good day. 

(He reaches out his hand. Kleschna at first hesitates. His averted 



ACT I. LEAH KLESCHNA 33 

face is sternly set. Then, with an effort, he stiffens up and, turn- 
ing, gives a quick shake to Sylvaine's hand.) 

Kleschna. Good day, monsieur. 

(Sylvaine jMts on his hat and walks slowly out, closing the door 

behind him.) 

[Door slam.) 

(Kleschna moves to r.c. watching Sylvaine off, glaring at the door. 
Enter Schram. He looks anxiously at Kleschna.) 

ScHRAM. Well— what is it ? 

Kleschna {forcing down his temper — crosses to chair behind table 
l.). Nothing. He had a bit to say about Berton, that's all. 

Schram {after peering hard into his face). Kleschna, something's 
happened. 

Kleschna {turning sharply). Well, what of it ? Now, I don't 
want any questions from you. 

Schram. He's worrying you, this man is — he's worrying you 
hard. 

Kleschna. Shut up ! Now if you tell Leah anything about 
his coming here you know what you'll get. He hasn't been here at 
all, d'ye understand ? 

{Lowering his voice.) 

And this job goes through to-night — just as we've planned it. Is 
that right ? 

Schram {sullenly). Yes. 

Kleschna. Good. {Calling.) Berton ! 

(Raoul comes in, looking about apprehensively.) 

Raoul. Well, what did he want ? 

{Door slam.) 

Kleschna. Nothing at all. He only — what's that ? 

{He whirls around suddenly as the hall door opens and Leah eaiters. 
She steps in, shuts the door behind her, and looks about at the 
men with a quick, eager, anxious expression.) 

Leah {in a voice almost of awe). Father, has anyone been here ? 
Kleschna. No. Just us, that's all. 

(Leah looks at them.) 

Leah. I saw him leaving this house. 
Kleschna. Him ? Who ? 

^{She studies their faces rapidly, and they ivatch her guardedly.) 





34 LEAH KLESCHNA act i. 

Kaoul. Who the devil do you mean ? No one's been here. 

Leah {sitting r.c. and smoothing hack her hair with a nervous hand). 
He — he must have been calling on some one downstairs. I only 
thought — ^for a minute — he might have been here. 

{Her voice dies away and she sits listless, gazing in front of her. The 
three men stand several feet apart, looking at her.) 

Curtain. 



ACT II 

Scene. The study in Paul Sylvaine's house at St. Cloud. It is 
the room of a cfentleman of culture and taste, furnished in the 
French Renaissance style. A large, well-ordered writing-table 
set slightly to the left of centre. On the left wall is a marble fire- 
place. Alongside the fireplace is a handsome cabinet, which is in 
reality a safe, tvith a thick iron door. The back wall of the room for 
half its width curves gracefully outivard, and ivithin the embrasure 
is a broad window extending to the foor. To the left of the curved 
embrasure is a door leading to an outer hall at back. There is a 
door in the right wall and another in the left, leading to rooms, 
and before the left one is a handsome gilt screen. The wall spaces 
are filled with bookshelves. The room is illuminated by electric 
light fixtures. It is night. 

Lights. Amber floats. Amber and red in batten. Two blue arcs on 
back cloth, one blue arc with lens and spot to shine on Leah at cue. 
Blue in back batten. Tivo table lamps. 

Discovered. When the scene is shoivn Paul Sylvaine ayid General 
Berton are together. The latter is a distinguished-looking 
military man of sixty years of age. His grey hair is close-cropped 
and his moustache trimmed to the severe line of his mouth. He is 
in evening dress and is sitting in arm-chair by fire. Sylvaine, 
also in a black velvet lounge coat, is standing against the fireplace. 

General Berton {starting and looking at his watch). Bless me, 
Paiil, it's two o'clock in the morning. I must be going now. 

Sylvaine {coming forward). Must you 1 Then I hope you go 
with a peaceful mind. 

General. Well, you always reassure me. {Rises.) But I wish 
you could have been even more frank with me, Paul. 

Sylvaine. {crosses to back of table c. — turns up lamp). I've told 
you everything, General. 

General. Everything except the information you possess about 
this Monsieur Gamier. Why should he agree to leave town at your 
request ? 

Sylvaine. He didn't agree. But I think he'll go. 

{Sits R. of table — looks at letters.) 
35 



36 LEAH KLESCHNA act ii. 

General. Well, apparently you've rescued Raoul again from a 
bad position, which is doubly decent of you, because you certainly 
can't think he's worth rescuing. 

Sylvaine. There's no one that isn't worth rescuing, and no one 
that can't be rescued. 

General {with knee on settee, l. of table c). There you go again 
with another of your charming inconsistencies. No one that can't 
be rescued. Do you believe that ? 

Sylvaine. It must be so, regardless of any belief or doubt on 
my part. 

General. I don't see why. 

Sylvaine {smiling). No more do I, but I'm sure it is true. 
You'll keep on trying to rescue Raoul because you know he can be 
rescued, and if you never rescue him, you'll know it's because you 
never found the way. 

{Rises. Puts a blue booh under table R. and futs a book in bookcase r.) 

That's why all the stray ones are not rescued, General. We haven't 
found the way. We've done all we can to-day for Raoul. The 
particular young woman who controls him for the moment is about 
to be removed. 

General, And you're the one to be thanked for it, Paul. You 
don't know what this means to me now. It gives me time — time to 
see what can be done with Raoul's finances. It's incredible what 
the boy has done. 

Sylvaine {reassuringly). Yes, yes, I know. 

General. Oh, it's not merely ordinary debts. It's worse, much 
worse. But, whatever happens, you, Paul, have my gratitude. If 
my son has humiliated me, I am to have a son-in-law who has 
raised my pride again out of the dust. Now I'm going. 

{Going up l.) 

(Sylvaine gets his coat from the chair at back and helps him on 

with it.) 

Sylvaine {going up r.). Well, General, I shall be with you 
to-morrow evening. 

General. Good ! At eight. 

Sylvaine. Yes, and I'll be bringing the jewels to Claire, you 
know. 

General. Think of that now. My little Claire getting the 
Sylvaine jewels. 

Sylvaine. Oh, they're hers by right. The wives of the Sylvaines 
have had them one after the other. 

{Gets the General's hat from chair at back.) 

General. Yes, yes. I know them well. How often your 
mother has worn them at my house. You have them here ? 



ACT 11. LEAH KLESCHNA 37 

Sylvaine. Yes, they're in the safe there. 

General {dowfi to safe). Be careful Paul, be careful. That's 
a treasure that needs guarding. 

Sylvaine. They're quite secure, I think. Now, shan't I walk 
home with you, General ? 

General {stopping and looking round at him). What for ? 

Sylvaine. Oh, it's so late and 

General. Damn it, Paul, do you think I can't be trusted to go 
half a mile alone on a moonlight night ? Walk home with me, 
indeed ! 

Sylvaine. Well, you'll let me see you down to the door, anyway. 

{The General passes out into the hall.) 

Ah, they have left us the lights. I beg you. General, to give my 
compliments to — — 

{Warning for hlack Curtain and light:;.) 

{They pass along the hall out of sight and his voice is lost. After a 
moment the sound of the street door being shut is heard. Bolt 
and chain of door is heard.) 

{Then Sylvaine reappears. He pauses outside and shuts off the 
light in the hall. He then enters, draws the portiere, and comes 
down to the writing-table.) 

{Turn fire out slowly — take off red. arc.) 

{As he sits.) Poor General Berton ! Poor old chap ! 

{He places a sheet of note-paper in front of him and writes.) 

" Dear Monsieur Gamier, — Should this letter find you still in {"he 
Rue de Clichy I depend upon it that a letter sent later in the day 
will fail to do so." 

{He seals the letter.) 

He should understand that, I think. 

{He directs the envelope.) 
Monsieur Gamier— 

{He looks up .sharply, as if he had heard something. Glancing over 
his shoulder he lays the pen down and, rising, goes up to the 
window, where he takes an attitude of listening. He does it all 
very quietly and deliberately ,' and appears to satisfy himself that 
he heard nothing. He returns to the writing-table and finishes 
the address of the letter.) 

{Writing.) 16 Rue de Clichy. 

{He blots the envelope.) 
I'll send that in the morning. 



38 LEAH KLESCHNA act it. 

{He rises, looks about the room, goes wp to the window again and listens. 
He then shuts off the light and exits through the door at right, 
closing the door ajter him.) 

(All lights out when Sylvaine switches off lights.) 

{The stage is now in utter darkness. During this darkness the curtain 
is brought down, unseen by the audience. A motnent later it is 
taken up again. There is complete silence. On her knees in front 
of the safe at left, the figure of Leah is now dimly seen. A small 
bulVs-eye lantern on a stool at her side casts a sharp light on the 
safe door and on her hands as she works with a jemmy. An 
instant after she is seen she gets the door of the safe open. From 
inside she next takes a handsome red leather case which, with 
the lantern, she removes to the writing-table. 

{As Leah moves to the table focus spot light on to safe.) 

{Then she forces open the lid of the case. At this moment the door 
at right opens and Sylvaine steps noiselessly into the room. He 
stands looking at Leah, who is bent over the jewels. Suddenly 
she becomes conscious of some one's presence. The click of Syl- 
vaine 's revolver, as he cocks it, is heard. Leah starts, slams 
down the cover of the jewel-case and reaches out and shuts off the 
light of the lantern. Only she is seen noiv standing in a ray of 
moonlight tvhich comes from the back window. She takes a 
revolver from her coat and stands motionless.) 

Sylvaine {in a sad voice — as if to himself). A woman — a woman ! 
Leah {in loiv, even tones). Be careful. You are not to interfere 
witli me or I sliall kill you. 

Sylvaine {calmly and sorrowfully). Oh, I think not. 

(Leah steps hack. When she speaks again it is sharply and with 
great precision, as one ivho has learned a lesson.) 

Leah. Listen, monsieur. You are to let me pass out the way 
I came. If you arouse the household I shall claim I was here by 
your invitation. 

{Drops her coat on to arm-chair l.) 

I was your companion for the night, and when you found me robbing 
you you gave the alarm. 

{She stops rather breathlessly.) 

Sylvaine {quietly). Well, what else ? 

\t^KR {beginning to show some anxiety a7id excitement). You'll not 
dare try to prove the contrary. Your approaching marriage makes 
that impossible — your public position forbids it. I shall have a 
perfect story to tell, one that the world will believe. Now you'll 
let me go and say nothing. 



ACT II. LEAH KLESCHNA 39 

Sylvainb {as if waiting for her to say more). Well ? 

Leah {with a nervous catch of the breath). That's all. I'll go. 

{She reaches out for the casket. He extends his hand to the electric 
light switch, which is on the ivall by his side, and turns the light on.) 

{Lights up.) 

{Fiercely, raising her revolver.) Turn of! that light — turn 



{She stops short. She has made a threatening move tou'ards him. He 
stands regarding her calmly. She looks at his face and starts 
back ivith a sharp cry.) 

{In a gasping voice.) Monsieur ! 

{The hand holding the revolver drops to her side, and she holds it 
behind her. After a little glance at the ivindoiv, Sylvaine shuts 
off the electric light again.) 

{Lights out.) 

{Then he crosses in the darkness to the table and turns on the lamp.) 

{As Sylvaine turns up table lamp, bring up four amber lights in 

floats.) 

{The lamp with its red globe casts a glotv about. He then quietly lays 
his revolver on the table and turns and regards Leah. Leah's 
resolution has forsaken her at recognition of Sylvaine, and she 
has been gazing at him ivith wide eyes, but now she pulls herself 
together by an effort and shuts her teeth tightly. She summons 
back her original personality and again presents a menacing 
front.) 

Leah. You won't prevent my going out of here. If you do — 
you heard what I said — you'll have to face a dirty scandal. 

Sylvaine. What makes you think I ivon't face one ? Had you 
any reason to think before you came in here that I was a coward ? 

Leah {quickly, with a flutter of weakness). No — no ! 

Sylvaine {pauses, regarding her calmly, then). Who prompted 
you to this ? Was it Kaoul Berton ? 

Leah {startled). What's that ? Raoul Berton knows nothing of 
it. 

Sylvaine. Ah ! You seem very anxious to convince me of 
that. Is it because you love him ? 

Leah {with a perfectly convincing gesture). Love him ? No ! 

Sylvaine. Yet you valiantly assert his innocence. That's 
interesting. Won't you sit down ? 

Leah {throwing back her head impatiently). Look here, don't talk 
to me like that. I want to know this. If I make a move for that 
window, are you going to try to stop me ? 



40 LEAH KLESCHNA act ii. 

Sylvaine. I shall stop you. 

Leah. You propose to hand me over to the police. 

Sylvaine. I propose to do what I think is right. 

Leah. Well, let me tell you if you try that on there will be 
bloodshed here, and no mistake. 

Sylvaine. You mean your father is in the garden below, waiting 
for a signal ? 

Leah (looking sharply at him). My father ? What do you know 
of my father ? 

Sylvaine. I've met him, talked with him. And I know that 
underneath all his mistakes and cruelties there's a fine quality — the 
quality of courage. {He pauses an instant.) But he sent you in 
here instead of coming himself. I can't understand that. 

Leah (quickly). Well, you don't think he was afraid, do you ? 
He isn't afraid of anything. 

Sylvaine. Ah, you're loyal too. How very interesting. 

Leah {with an angry toss of her head). Now stop that. You're 
treating me like a child ; you're talking like one yourself. I'm not 
making a call on you. This isn't afternoon tea. I'm robbing you, 
do you understand ? And you've caught me at it. Now you'd 
better think what you're going to do. As for me, I intend to go out 
that window. If you make a move to stop me I'll fire, and that 
will bring my pals in on you. You don't want that 

{Puts pistol in her left hand.) 

God help you — you don't want that. 

Sylvaine. How do you know I don't ? I want this episode to 
go to its logical conclusion. So^I've determined to give the signal 
myself for your pals to come in. 

{As he speaks he takes up his revolver from the table and points it 
towards the ceiling as if to fire. Leah, springing towards him 
and seizing his arm.) 

Leah. No — don't — don't do that ! 

{Then she stands away from him and averts her face. Sylvaine 
lowers his arm and, turning, looks at her with a strange glad 
expression.) 

Sylvaine {softly — after a moment). I thank you. 
Leah {looking around at him). What ? 

(Leah drops revolver in arm-chair.) 

Sylvaine. I thank you for saving me from ridicule. 

{He ]mts down the revolver and comes nearer to her.) 

You see I expressed before my colleagues in the Chamber )^csterday, 
a sentimentj of pity for those who commit crime. If I had been 



ACT II. LEAH KLESCHNA 41 

killed here to-night, all Paris would have laughed, I think. 
Perhaps you have cheated them of their laugh. 

Leah {who has been listening with her eyes fixed on his face). Pity 
for those that commit — crime. That's funny ! 

Sylvaine. Yes, it is funny, frightfully funny. All sorts of 
people laugh at it. The burglar laughs as loud as the banker. I 
almost catch myself laughing at times. But I take courage every 
now and then — and I'm taking it now. 

Leah {still looking straight at him). Now ? 

Sylvaine. Yes, now. Because you don't laugh. Why is" that ? 

Leah {in a strange voice). I don't know. 

{They stand silent. Leah withdraivs her gaze from his at last and 
turns away, giving her head a sharp little wpivard jerk and harden- 
ing her mouth.) 

Sylvaine {goes near to her — gently). Will you tell me something 
about yourself ? 

Leah {sullenly, averting her face and casting down her eyer). I 
don't know. 

Sylvaine. You're not French ? 

Leah. No. Austrian. 

Sylvaine. From where ? 

Leah. From near Neustadt. 

Sylvaine. Did your mother die ? 

Leah. When I was ten. 

Sylvaine. Where did you go then ? 

Leah. Father took me to Vienna. 

Sylvaine. You knew how he lived ? 

Leah. I learned. 

Sylvaine. And you were shocked ? 

Leah {raising her eyes). Wlien I was little I was — afraid. 

Sylvaine {eagerly). Yes — yes — afraid. Did you feel it was 
something to hide ? 

Leah. Soon — I got used to it. 

(Sylvaine remains silent a moment.) 

Sylvaine {very gently). Did you steal as a child ? 

Leah {turning sharply around on him). I won't answer you. 
What are we standing here for like this ? 

Sylvaine {qiiickly). Never mind. Don't think of that. I've 
treated you fair so far. 

Leah (m a vibrant, defiant, but unhappy voice). I don't want to 
be treated fairly. 

Sylvaine {following her up eagerly). That's anger. That's 
pride. Put it aside and meet me on equal ground. The truth of 
you is what I want. Why didn't you shoot me when you could ; 
why didn't you let me shoot and bring your companions in ? You 



42 LEAH KLESCHNA act ii. 

couldn't. If there's this good in you, what did you come here for at 
all? 

Leah {seeking to sustain her attitude). To rob you. 

Sylvainb. You cannot rob me of anything I'll regret except the 
faith I have in my own people. 

Leah. You needn't try to have faith in ?ne. 

Sylvaine. I don't try. It's here within me — strong as my life. 
And you can't rob me of it. I believe in every one of us — that 
every one of us is a part of truth, and the thief that comes into my 
house is only a spectre of madness. That spectre cannot destroy my 
faith. It only veils the soul, the universal soul, which is love. 
(Pause.) Love, but lost in darkness ; the same darkness through 
which the whole world is struggling, the thief a little more helpless 
than the rest. 

(Leah's power of control has been gradually forsaking her. All the 
firmness has gone from her face and she struggles vainly to retain 
her defiant attitude.) 

Leah {weakly). I want — to go out of here. {Crossing to front 

of table c.) 

Sylvaine. To go out of here — yes. But I want you to go as 

Leah {turns on him uttering an exclamation that is like grief and 

fear and rage mingled). I'll not be preached at. Look here. There's 

just one thing — either I go or you stop me. 

{She is staring at him ivith fright in her eyes — hits the table.) 

You shan't talk to me — you shan't look at me like that. {Her 
voice rises wildly.) You shan't look at me ! Damn you, stop looking 
at me ! 

Sylvaine {grasping her hands in his oivn). Do you know what 
I'm looking for ? For you — the child that was afraid. For you 
that's hidden behind that unhappy mask. I've seen it — since I 
came in on you here I've seen it — I see it now, in your eyes, as they 
look at me. It's the light— the light. Don't be afraid of it — don't 
be ashamed — let the good grow and shine there, and trust me. 

{He draws her unresisting to the sofa l. of table c. She stares with 
frightened, fascinated eyes, unable longer to withstand the power 
of his will.) 

Sylvaine. When did you first steal ? 

Leah (breathlessly). I don't remember. 

Sylvaine. Can you remember when you didn't steal ? 

Leah. Yes — no — I can't remember. 

Sylvaine. When you were a child in Vienna 

Leah {breaking in). Not in Vienna. In Milan, I think — later. 
Sylvaine. Your father set you to work first in Milan ? 
Leah. Yes. 



ACT II. LEAH KLESCHNA 43 

Sylvaine. And you never questioned the right and wrong of it 
yourself ? 

Leah. Not then. 

Sylvaine. But later ? 

Leah. Not for a long time. 

Sylvaine {with a note of eagerness). But at last ? 

Leah. If I did, it was too late. 

Sylvaine. But you understood at last. No matter how late it 
was — you understood 

Leah {acutely). I'd been a thief all my life. There was no way 
out. 

Sylvaine. You could have run away ? 

Leah. He'd have found me. 

Sylvaine {sharply). Ah ! But you thought of it ? 

Leah. I don't know. I tried not to think. 

Sylvaine. But the truth was there knocking at your heart, and 
you couldn't keep it out. You began to hate the life you were 
leading. 

Leah {helplessly). Yes. 

Sylvaine {with fine conviction). And this will be the end of it — 
now. 

{She is rigid under his gaze, which never leaves her. She is at a height 
never attained by her, and it appals her. He pauses, then goes 
on again until she reels under his ivords.) 

{Sits beside her.) 

The thief in you is only a vile spirit holding you prisoner. It can't 
hold you against your will. It has no real power — only the power 
you concede to it in your weakness, in your thoughtlessness. Some- 
times another can send it away. 

(Leah looks at him.) 

If I might be the one — if I might be — please God I may — I'd lead 
you out by the hands, out from your prison house, the thief would 
be left behind, and here would be the girl again — the girl that was 
afraid. 

(Sylvaine has been exquisitely tender and passionate in all he has 
said. Leah listens transfixed, a light growing in her face. As 
Sylvaine finishes, she continues gazing at him, he at her. Then 
her eyelids fiutter, and a sob breaks from her as she throws her head 
far back. Sylvaine ivatches her while the emotion seizes and 
conquers her.) 

{Warning for song.) 

{Tlien with infinite sympathy.) 

Cry — cry ! Don't stifle it. Cry 



44 LEAH KLESCHNA act ii. 

{Rises — crosses to fireplace.) 

{Overwhelmed, she sinks down from the sofa to her fences, abases her 
head and sobs convulsively. Sylvaine contem'plates her in silence. 
At last her grief is stayed. He touches her hair.) 

There ! It's passed now. It's all right now. Come. 

{He raises her up. She stands before him, looking down.) 

{Then after a mofnent.) Now you are free to go. 

{Song.) 

Leah (looking up wonderingly). I may go ? 
Sylvaine. Yes. 

{An instant before the sound of gay singing has been heard coming from 
a distance outside. It evidently comes from a band of revellers 
returning home. Leah has stood for a moment looking at 
Sylvaine and then started slowly up toward the window. When 
she is nearly there she stops. The singing has kept getting nearer. 
The singers are now apparently in the garden and under the win- 
dow. Laughter is heard and shouting, the incoherent brouhaha 
of a tipsy lot of young men, the song ahvays continuing. Then a 
coarse voice is raised above the others.) 

Eaoul {outside). Paul Sylvaine ! Are you there, Paul ? 
Another Voice. It's burglars ! 
Another Voice. It's ghosts ! 

{Warning to put up amber floats three-quarters.) 

Raoul {outside). I'm going up to see. Eh, Louis, give me a 
leg up. 

(Leah turns and looks anxiously at Sylvaine.) 

Leah. That's Raoul Berton's voice. 
Sylvaine. Stand away from the window. 

{He goes up and draivs Leah aside.) 

Voice. Easy there ! Now then — up. 

(Raoul appears on the balcony.) 

Sylvaine {taking Leah's hand). He mustn't see you ; go into this 
room. {Firmly.) 

{He passes her through the door at right and closes it. As he does so 
Raoul is looking through the ivindow. He pushes the unndow 
open and stands leering at Sylvaine. Sylvaine turns up lamp 
on table up r.) 

{Bring up amber floats three-quarters.) 



ACT II. LEAH KLESCHNA 45 

(Sylvainb comes to hack of c. lahlc, picks tip his revolver, puts it in 
drawer and sits r. of table.) 

Raoul. Hello, Paul ! Wliat's that now ? 

Sylvaine. What's what ? 

Raoul {comes to back of Sylvaine's chair e.g.). Well, if it wasn't 
you — good, old, steady-driving you — I'd say I saw something 
damned like a woman go through that door. 

Sylvaine. Raoul, it's uncommonly rude of you breaking into 
my house like this. 

Voice. Ruy Lopez ! 

Raoul {has turned back to the balcony— calling over). It's all 
right, boys. Paul's here. Wait for me in the Cabaret des Poissons, 
at the bottom of the road. I'm going to stay here awhile in the 
odour of sanctity. 

{He turns and zigzags into the room again.) 

{During this speech Sylvaine has put Leah's lantern and jemmy 
under table down r.) 

Voice {shouting). Ruy Lopez, Raoul ! Ruy Lopez ! 
Raoul {shouting hack). I tell you it's Henry of Navarre. Ten 
loms it's Hem-y of Navarre. 

Many Voices. Ruy Lopez ! Ha, ha, ha, ha ! 

{They wander away singing.) 

Viens poupoule, viens poupoule, viens ! 

Quand j'entends des chansons. 

Ca m'rend tout polisson, ah, 

Viens poupoule, viens, 

Souviens toi qu'c'est com'ga. 

Que je suis devenu papa. 

{Their voices die away. Raoul throws open the ulster he is wearing 
and reveals himself in a fancy costume.) 

Raoul (r.c). Look here, Paul. Ain't I Henry of Navarre ? 

Sylvaine {dotvn r.). I think very likely. 

Raoul. Well, every one of 'em swore I was Ruy Lopez — — 

{Comes to chair r.c.) 

Now, who the devil's Ruy Lopez ? He's a game of chess, he ain't 
a man. The costumier told me I was Hemy of Navarre, and if I 
ain't I don't pay him, 

Sylvaine {turning away from him to the table). You've been to 
another ball to-night, it seems. 

Raoul {joyously). Always, always. Where the ladies are, there 
you'll find little Raoul. 



46 LEAH KLESCHNA act ii. 

(Going up to window, sings and throws his hat over the balcony.) 

I say, Paul 

{Coming down l.) 

Give a starving man a drink, won't you ? 
Sylvaine. I'm sorry, I've got nothing here. 

{Crosses to bach of table c.) 

{With sudden cordialitij .) But if you'll just go down to the 
dining-room — 

Raoul {sitting L. of table c). Never mind. Like the camel I go 
prepared into the desert. 

{He takes a glass flask from his waistcoat.) 

Eau-de-vie de Marc, Paul, as smooth as Cleopatra's pearls. 

{He drinks and smacks his lips.) 

Ah ! Now, if you'd take a drop of that once in a while, 'twoidd 
warm you up. " Love your fellow-men," and how the devil are you 
going to love your fellow-men if you don't drink ? 

Sylvaine. But might I ask you why you thought it necessary 
to climb in at my window at three in the morning ? 

Raoul. If I hadn't you might have had a less desirable visitor. 
You're tempting all the cut-throats in France. The sergeant de 
ville met me out in the road there and said he'd just driven ofi a pair 
of prowlers. 

(Sylvaine looks at door r.) 

You have a head for politics, Paul, but you're not practical. Look 
at you ofi here like a stranded hermit. {Rises.) Come out and be 
tempted. Saint Anthony. Come out where the women are ; there's 
more than one for every man 

{He pauses, and stooping doivn picks a handkerchief from the floor, 
where Leah has let it fall after her weeping fit.) 

Hello, what's this ? 

{He spreads it out and then sniffs it.) 

In your rooms at three in the morning. Oh, oh ! now, that's son\e- 
thing new. Ha, ha, ha, ha ! 

{He bursts into loud coarse laughter.) 

{Going up l. crosses to back of chair r. of table c.) 

Sylvaine {moves down r.). I wouldn't be so violently amused if I 
were you. 

Raoul {gets between chair and table). It's all right, Paul ; it's all 
right. 



ACT 11. LEAH KLESCHNA 47 

{Puts his hands on Paul's shoulders.) 

Don't blush. So it was a skirt I saw ? 

{Falls back to table — with a leer.) 

Never mind. You're one of us at last, old pal. 

{Puts his hands on Paul's shoulders.) 

Don't be afraid. I won't tell Claire. 

Sylvaine {pushing him off ; Raoul falls on chair. Sternly). 
Raoul, I've had enough of this. You're tipsy — and I want you 
to go home. 

Raoul {scotvling). Eh ? So that's it. I thought you wouldn't 
carry it ofi like a true sportsman. You haven't had the right sort 
of practice. 

{He waves the handkerchief to and fro under his nose.) 

Violet ! They all smell of violet. God ! it's intoxicating. Add 
violet to a pretty woman and the soul of "man goes down with a 
crash. 

{He looks round with a mean smile at Sylvaine.) 

Come, Paul, be good-natvired. Let me see her. 
Sylvaine. Raoul, you'll go— now. 
Raoul. {Rising). I'll go — yes — 

{Pushes Sylvaine aside.) 

— when I've seen her. 

{As he finishes he makes a lurching rush and bursts through the door 
into the other room.) 

Sylvaine {springing towards him). Raoul ! 

(Raoul is heard uttering a roar of rage and astonishment on the other 
side of the door. Then he breaks into the room, dragging Leah 
by the wrist and throwing her around in front of him.) 

Raoul {in a savage passion). What in hell does this mean ? 

(Sylvaine, restraining himself, stands regarding Raoul contemptu- 
ously. Leah, ready for any sort of desperate act, looks towards 
Sylvaine for a sign. Raoul, his head bent fonvard, glares from 
one to the other.) 

{To Sylvaine.) 

Oh — you're a poacher ! Aren't ye 1 That's Paul Sylvaine's game, 
is it ? Mealy-mouthed saint that gets on a pedestal and lectiures 
the rest of us — he's a poacher ! 



48 LEAH KLESCHNA act ii. 

Leah {astonished hy Sylvaine's continued restraint). Oh, mon- 
sieur ! 

Sylvaine [crosses to her — quieting her). Husli ! 

Raoul {crosses to l. — wheeling about). Yes — husli^ — you ! We 
don't want to hear from you. 

{Confronting Sylvaine.) 

There's just one thing, Paul Sylvaine. If she was worth the trouble 
I'd have satisfaction of you — I'd drive a sword through you for a 
hypocrite ; but not for that sort. What I ivill do — I'll placard you 
— I'll placard you through Paris. I'll hang you up before 'em all 
as the man Raoul Berton wouldn't let his sister marry. For you 
won't marry her — never in your life. 

Sylvaine {comes to top of table c). Stop ! You don't under- 
stand, and I don't propose to explain to you now. 

Raoul. Oh — you don't, eh ? 

Leah {breaking in suddenly). Raoul Berton, do you want to know 
the truth ? 

Raoul. The truth from you — a — — 

Leah {interrupting). Oh, I'm worse than that. But I can give 
you truth now that'll dazzle you. 

Sylvaine {to her). Please don't. 

Leah. Oh, yes, I will. I've been waiting for the chance ever 
since I met him. 

{Comes to table c. To Raoul.) 

You remember our first meeting, don't you, in the railway carriage 
coming back from Chantilly. My father 'd taken me to Chantilly 
to look at a house — a house he'd planned to rob. 
Raoul {with a start). Eh ? 

{Kneels on settee l.c.) 

Leah. Now, don't get nervous. We'd have robbed that house 
at Chantilly if we hadn't met you. You turned us on to a better job. 

Raoul. What d'ye mean ? 

Leah. I'm telling you what I mean. You liked the looks of the 
girl that got into the railway carriage that afternoon. You looked 
her all over with your mean eyes and said to yourself you wanted 
to know her. You began by asking dad for a light for your cigar. 
Well, before we reached Paris you asked dad if you might call. And 
you've been calling ever since. Well, you're a talker, a boaster, 
everything you shouldn't be. My father's a listener. Through 
your talking and his listening he got the material he's always looking 
for. 

Raoul. A burglar. 

{Sits on settee l.c.) 



ACT II. LEAH KLESCHNA 49 

Leah. One of the best. Kleschna of Vienna. 
Eaoul {starts back). Kleschna ? 

Leah. And now you understand ? Kleschna's daughter came 
through that window a while ago after those things. 

{Pointing at the jewel-case.) 

It was burglary combined with a fine scheme of blackmail. It had 
worked beautifully on a former occasion, but on the former occasion 
I did not meet a Monsieur Sylvaine. He found me here, and he beat 
my game to a standstill. And that's all I have to say. Here we are 
— three of us — a gentleman — a thief — and a blackguard. I'm the 
thief. 

(Raoul stufefied. He stares at Leah and makes an ineffectual 
attempt to answer her.) 

Raoul (at last tvith an effort). Is this true ? {To Sylvaine.) 
Sylvaine. You heard. She need not have made her statement. 
Leah. Oh, yes. It's made him keep quiet. It's put him right ; 
it's put you right — - — 

{Going up R. a little.) 

Nov/, what are you going to do about me, monsieiu- ? 
Sylvaine. Why, I've told you. You're free to go. 

Raoul. What's that ? You're not going to let her 

Sylvaine {breaking in). Yes, I am. 
Leah. You'll let me go free ? 

(Sylvaine gives her a long look. At last he smiles, recognizing her 
answer in her eye. Leah gazes at Sylvaine long and steadily. 
In this look she reveals her resolve to steal no more.) 

{At last.) 
Good night, monsieur. 

{She starts up to the window.) 

Sylvaine. Wait. Not that way. I don't like that way. 
Leak {looking inquiringly at him). Not this way? 
Sylvaine. If you'll permit me I'll take you to the door ? 

{He opens the door and switches on the hall lamp.) 

(Leah goes slowly out.) 

Raoul {rises — goes up l.c). Well, Paul, you're a- 



Sylvaine {turning). I know I am, and I'm willing to be. 

{He exits l.c. and Raoul stands looking after him.) 
Raoul. Well, I'm damned ! 

{He turns down to arm-chair l. — sits on the arm.) 



50 LEAH KLESCHNA act ii. 

A burglar ! What do I care. I want lier love, and I'll have it. 

{He siofs, his vicious eyes glaring. He comes down to the table and 
notices the jewel-case. He glances quickly over at the coffre-fort 
with its door standing open. Then he cpens the jewel-case, and as 
he sees the jewels he starts hack with a grunt. He listens for an 
instant, with his eyes fixed on the hall door, then plunges his hands 
into the case and draivs them out filled ivith jewels. Standing 
irresolute for a nionicnt, he makes h'is decision and stuffs the jewels 
into the pockets of his overcoat.) 

{Door slam.) 

{He takes all the case contains and then shuts it. He now hears Syl- 
VAiNE returning, and moving aimy from the table he takes a cigar- 
ette case from his pocket and proceeds to light a cigarette, seating 
himself in front of fire. Sylvaine re-enters a7id walks toivards 
the table without glancing at Raoul. Paul turns out hall lamp.) 

Raoul. Paul ! 

Sylvaine {sits at table r.c. — turnhig). Well ? 

Raoul. I owe you an apology. 

Sylvaine. I'll dispense with it. 

Raoul {rising). Well, it was a natural mistake for me to make, 
wasn't it ? 

Sylvaine. Was it ? 

Raoul {coming to back of table). Oh, well, she belonged to me. 
When I found her here it looked^ — you ought to know how it looked. 
I lost my temper, and now I'm sorry. 

{Over the back of Paul's chair.) 

Sylvaine. Very well. 
Raoul. Yes. 

{Puts his hands on Paul's shoulders.) 

And I feel grateful to you, you see. You've got me out of the 

clutches of a bad woman, and 

Sylvaine {interrupting). Now, Raoul, I'm very tired- 

{Rises — goes down r.) 
We'll discuss all this another time, perhaps. 

{Looking at his watch.) 

But now it's frightfully late and I'll have to bid you good night. 

{Making a movement towards the table c. Raoul stops him, thinking 
he is making for the jewel-case.) 

Raoul {edging tovmrds the window). I'm going. Only forget 
what I said, eh ? 



ACT II. LEAH KLESCHNA 51 

Sylvaine. You'd better not go by the window. 
Raoul. Yes, I will. I can drop into the garden and go over the 
back wall. It's the nearest way home for me. Good night, Paul. 
Sylvaine. Good night. 

{Moving to back of tabic c.) 

Raoul. See you to-morrow. 

{Warning for song.) 

{Warning for curlain.) 

Sylvaine. Good night. 

Raoul {with a malignant look). Good night. 

{He goes through the tvindoiv — ivilh a look back he disappears over the 

balcony.) 

(Sylvaine takes a cigarette from box on c. table, comes down and sits 
L.c. wearily at the table. He remains lost in thought.) 

Sylvaine {quietly). How sad — how unutterably sad ! Poor 
girl ! — poor girl ! 

{Presently he sighs, starts up and reaches out for the jewel-case. As he 
grasps it by the strap) on top the lid flies open. He gives a sharp 
look inside and finds the jewels are gone. He turns and glances 
towards the safe. His face is set and its shadows deepen. Then 
as the truth dawns upon him his lip curls cynically and he gives 
a bitter laugh as he sinks back into the chair.) 

{After a moment.) 

Well, I expect a sentimentalist is always a fool. She got them after 
all — after all. 

{Sits L.c.) 

Voice. Raoul ! 

Raoul. All right, boys. I'm coming 

{Song off.) 

{Paul remains thinking. Faintly in the distance the song of Raoul and 
his companions is heard. He has rejoined them and they are 
departing. Sylvaine listens mechanically to the song. Suddenly 
we see the thought and the suspicion that are born in him. He 
throws his head up and his expression changes. His face is set, 
expressing great mental shock and suffering.) 

Sylvaine {slowly, in a hushed voice). I wonder ! I wonder ! 

{Song grows fainter in the distance.) 

Curtain. 



ACT III 

Scene. Tlie same as Act II, on the following morning. The sun- 
light is streaming in through the ivindow from the garden. The 
door of the safe is closed and the jewel-case has been removed. 
The gill screen is so placed as to mask the door at left from the 
view of the people on the stage. 

Lights. Everything full up. Two amber arcs at windows. 

(When the curtain rises Baptiste, a valet de chamhre, enters 
at bach and ushers in General Berton, Madame Berton, and 
their daughter Claire. Madame Berton is leaning on her 
husband's arm. She is a fragile, sweet-looking lady of middle 
age, who walks very sloivly, ivith the air of a confirmed invalid. 
Claire Berton is a pretty example of the quiet, unawakened, 
carefully -reared type of French girl. She solicitously draws up 
a chair for her mother down l. also a footstool down l. Places 
it for her mother.) 

General. We're a trifle early. Baptiste, you are pale. Upset, 
I presume, by last night's occurrence. 

Baptiste {at back of table c. — agitatedly). Ah, Monsieur le 
General ! It is terrible. When I came in to arrange the room this 
morning I went first to open the window. I found it had been tam- 
pered with ; the fastening had been wrenched ofi. 

(General goes up to window and looks at the fastening.) 

Madame Berton {waving her hand). I beg of you, Baptiste 

General. Hush ! {To Baptiste.) 

Baptiste {bowing. Claire rises.) I beg to most humbly ask 
Madame, should the dejeuner this morning prove disappointing 
would Madame be lenient ? 

Madame Berton. You mustn't disturb yourself about the de- 
jeuner. You see, Baptiste, I have no appetite. 

Baptiste {bowing). Thank you, madame. 

{Going up.) 

It gives me the greatest happiness to know Madame has no 
appetite . 

52 



ACT III. LEAH KLESCHNA 53 

(Baptiste exits l.c.) 

(General ivatches Baptiste off, cotnes down r. Claire sits at 
back of table c.) 

General. As I said, my dear, I am not so much surprised that 
Paul should let the young woman go. It's quite in line with his 
theories, but, bless my soul, who ever — 

{Crossing to L. — looks at the safe.) 

— thought he'd get a chance to exercise a theory like that. 

(Claire has been sitting very quietly and modestly in a chair back of 
the ivriting-table, listening in the unobtrusive, shy xoay peculiar 
to the jeune fille in France.) 

Claire {leaning forward and speaking very gently). Tell me, 
mamma, would it be too curious of me to ask if the young girl that 
Monsieur Sylvaine set free was a pretty young girl ? 

Madame Berton. Why, child, I know nothing about her personal 
appearance. 

Claire. Oh ! I thought Raoul might have told you. 

{Casting her eyes doion.) 

I know you don't like to have me form opinions, mamma ; but it 
has occurred to me that a gentleman might decide not to punish 
a girl who was pretty, while he would not hesitate to ask the police 
to take away an ugly one. 

General {with a jump of astonishment). Good gracious, what 
sort of philosophy do you call that ! 

{Comes to Madayne.) 

Claire. I didn't call it philosophy, papa. I don't quite know 
what philosophy is. 

Madame Berton {puts her hand on General's arm). I think I 
understand what our daughter means. 

(General goes up c.) 

Paul is a sentimentalist, no doubt, but not that kind. His only 
weakness appears to be a desire to extend his love for his fellow- 
creatures even to the one who comes forward to kill him. 

General {crossing down r. — has been moving impatiently about). 
Oh, it's absurd ! I shall talk very plainly to Paul. 

(Sylvaine enters from hall. He comes down to Claire, hisses her 

hand.) 

Sylvaine. General, I'm so sorry I wasn't here to meet you. 
General. We were early. 

{Sits in arm-chair down r.) 



54 LEAH KLESCHNA act hi. 

Sylvaine (turning). And Madame Berton ! You are better 
to-day ? 

{He bends over her hand and lifts it to his lips.) 

Madame Berton {smiling languidly). I'm mucli as usual, my 
dear Paul. 

Sylvaine. What a delightful morning it has been, General. 

{Puts hat and gloves on table by fire.) 

General {as he sits on arm-chair at right — gravely). Yes, yes, a 
fine morning. {lie clears his throat.) Well, Paul, Raoul has told 
us all about last night's shocking occurrence. 

(Sylvaine looJcs at them. Claire tvatches Sylvaine. Sylvaine 
sits L. of table c.) 

Sylvaine. Ah, he told you. I see ! {Musing.) It might have 
been as well had he not done so, but {He hesitates.) 

General {impatiently). Good gracious, you wouldn't cover it 
up, would you ? 

Sylvaine. No, not that Only I 

{Rises — crosses to c. He pauses, then goes on in another tone.) 

Why, of course, I couldn't expect anything else. Raoul did quite 
right, quite right. 

{Turns rip r. — pause. Comes down to chair R.c.) 

And what did he tell you ? 

General. Well, he said he came in on you after it was all 
over 

Sylvaine {surprised — glancing up). Ah ! 

General. You had just let the girl go. Paul, by what theory 
can you bring yourself to believe that a criminal who breaks into 
your house to steal from you, and perhaps kill you, should be sent 
out into the community again to repeat the crime against another ? 

Sylvaine {smiling slightly). I am positive she won't 

General {with an impatient gesture). Paul, you don't want your 
admirers to join your enemies in believing you are developing into 
a dangerous extremist. You're not an anarchist, you're not a 
fanatical dreamer. You're a man of hard business sense. 

Madame Berton. But, Ilyppolyte, you haven't given Paul a 
chance to explain. 

Sylvaine. I doubt if I can explain to the satisfaction of the 
General. I came out of my room last night and found a young woman 
stealing my jewels. Although she was armed I could undoubtedly 
have seized her and summoned the police. 

General. Ah ! 

(Madame Berton makes a gesture for the General to keep quiet.) 



ACT III. LEAH KLESCHNA 55 

Sylvaine. But I didn't. She was a refined, good-looking girl 

Claire {leaning fonvard). All ! 

{All turn and look at Claire, who immediately sits back and drofs 

her eyes.) 

Sylvaine. And the only feeling I had was one of inexpressible 
sadness. 

General {with an impatient shrug). Oh, Paul ! 

(Madame snakes gesture again.) 

Sylvaine {going quickly on). You know my views about these 
unfortunate people, don't you ? I try not to be unreasonable about 
it. I only claim the right to interest myself in the subject from 
another point of view. 

General. You cannot claim the right to turn loose upon the 
world a criminal that you 

Sylvaine {interrupting). I don't recognize any hard and fast 
rule in the matter. 

{Sits R.c.) 

If I could find any means to rescue a criminal without sending him 
to prison I should feel justified in adopting that means. 

General. But you can't find any other means. None that we 
know is so safe. 

Sylvaine. None that we know is so ineffectual. However, 
we're discussing my special action with this girl. Let me say at 
once that she personally interested me. 

Claire {leaning fonvard). Ah ! 

(General and Madame Berton look around at Claire, who im- 
mediately drops her eyes again. Sylvaine does not note her 
exclamation.) 

Sylvaine. My first glance at her showed me she was a fine, 
brave young creature. General, I can't associate courageous youth 
with crime. When they get mixed up together some one has been 
careless. It was out of the question my springing upon that stupid 
child like an avenging fury and roaring out for the cords to bind her 
with. So I talked with my burglar. 

General {exasperated). Talked with her, Paul ; talked with her ! 

Sylvaine. You would be surprised to know how tractable I 
found the girl. The spiritual good in her was only slightly submerged. 

General {his irritation increasing). Spiritual good, Paul ! 

Sylvaine. To be sure ! Tliere's spiritual good in a burglar, 
General, just as there is in you, only it's deeper down. 

General {with a despairing gesture). Lord ! 

Sylvaine. But let us keep to our girl. I'm sure from one cause 
or anotlier the suggestion to stop stealing had been persisting in 



56 LEAH KLESCHNA act hi. 

her for some time past. It only required just one more suggestion. 
Fortunately I was able to make it. 

Claire (breathlessly). How ? 

Sylvaine (smiling). As I said, I talked with her. 

General (struggling helplessly ivith his temper). Paul, have you 
not positively transgressed in taking a course which is opposed to 
the public safety ? Do you not understand that it was your duty 

Sylvaine (interrupting — firmly). Please, General, please. Don't 
bring in that word duty. 

General. And why ? Is there any word more solemn ? 

Sylvaine. No. And because of its solemnity let us leave it 
unspoken. It may be wrong, all wrong at the end ; I don't know ; 
but I would no more put that poor, misguided girl in prison than I 
would put there an erring child of my own. 

(Passionately. Rises — goes to the General.) 

Bring it home. Suppose the law could seize one of your own in 
such a state ? This girl is none of mine, but we are of one species. 

General. But 

Sylvaine. I do not understand the origin of her sin, and as I 
don't understand, I will not assist in her condemnation. 

(Turns up r.) 

(A silence follows. General Berton, his face firmly set, looking 
atvay from Sylvaine.) 

Madame Berton (rises — crosses to table c. — speaking at last in 
a very gentle voice). I think I see more clearly now. We can never 
think of our own in such a position. But perhaps the suggestion 
ought to guide us a little in our judgments. 

(She has crossed to Claire — sits on seat by table c.) 

Claire (in a quiet little apologetic voice). Might I ask if the young 
lady succeeded in taking away any of the jewels ? 

(Paul sm,iles somewhat cynically as he glances at Claire. The others 

look at him.) 

Sylvaine (slowly). Well — all the jewels have disappeared. 

(All start at this. Claire jumps to her feet.) 

Claire (rises— tearfully). Oh, and they were to be mine ! Oh, 
mamma ! 

(She hastens to her mother.) 

General (springing to his feet, completely upset). Paul, you don't 
mean this ! Raoul told us the jewels were safe. 
Sylvaine. Raoul — was — mistaken. They're gone. 

(Claire goes to the fire.) 



ACT III. LEAH KLESCHNA 57 

General (after a moment — speaking with difficulty, but controlling 
his temper). Well, this— this is a new and astonishing phase of the 
matter. 

(Crossing to l.) 

I don't know what to say to you—now. 

Sylvaine (looking at him with his head ivell up). No. It makes 
me look somewhat foolish, doesn't it ? 

General M-m ! 

(Comes bach to r. of table c.) 

It o.ppears that while you were indulging your extraordinary mag- 
nanimity towards this creature she was cleverly secreting the 
jewels about her person, and after the sympathetic conference was 
over she quietly walked away with them. Is that it ? 

Sylvaine. I think not. I'm loath to believe I'm so dull as 
that even at three in the morning. When I let her out of the house 
I'm quite sure the jewels were here. When I returned they had 
disappeared. 

Madame Berton (quickly). Ah ! She had accomplices that 
you didn't see. 

Sylvaine. Something like that, I expect. 

(Claire sits on chair doivn l.) 

General (evidently suppressing a feeling of contempt — crosses 
down R.). Well — I'll make no comment. It — well, there it is — 

and 

(Throiving his hands in the air.) 

What's the use 

{Turning.) 

But I take it for granted, Paul, that you have given information of 
this to the police. 

Sylvaine (hesitating). No — I haven't. 

(Madame Berton and Claire rise.) 

General (astonished). Then you intend doing so ? 

Sylvaine (turning and looking at General Berton). General, 
you mustn't press me to act to-day. 

General (more calmly, but with a deep)er seriousness than before). 
Ah, but I must ! 

(The ladies have started tvith surprise at Sylvaine's last words, and 
Claire, springing to her feet, regards him with a look of growing 
doubt and reproof.) 

I feel bound to tell you plainly, my boy, that this matter does not 
belong to you to deal with as you wish. The stand you are taking 
may satisfy you, but it doesn't satisfy me. 



58 LEAH KLESCHNA act hi. 

Sylvaine {firmly). General, I can't go to the police to-day. 

General {very grave, after a tense pause). Paul, is there anything 
in this case that compels you to keep the truth of it from me — and 
from my family ? 

Sylvaine. Possibly. 

(Claiee rises hastily and goes to her mother.) 

Claire {with a little gasp). Mamma ! I should like to go. 

(Sylvaine looks at Claire.) 

Madame Berton {with quiet firmness). Be silent, my child ! 
General. I regret this should be the manner of it. 

(Sylvaine goes to table — turns over hooks.) 

You choose to throw a mystery over the affair. 

(Sylvaine comes down towards the General.) 

Sylvaine. May I not be given a little time to work out the 
problem ? 

General. No. Not to the satisfaction of the thief. If you 
withhold information I shall myself 

Sylvaine {interrupting). Give me a few hours, General. I have 
sent for the young girl. 

Claire {strained and trembling). You know where she lives ? 

Madame Berton. Claire ! I insist that you don't interfere. 

Claire {turning to her). But, mamma 

Madame Berton. Hush, child ! 

General {staring blankly at Sylvaine). This is amazing, Paul. 
You took the address of your thief in case you should need her again. 
If I were in any mood for laughter I should roar at you. And j^ou 
imagine she'll return ? 

Sylvaine. I think she'll come. 

General. Good Gad, Paul, I believe you're mad ! 

(B artiste has entered L.c. and come down to back oj table c. As 
General Berton finishes he steps forward to Sylvaine.) 

Baptiste. Monsieur, a young woman has called, and says you 
sent for her. She gave her name as Leah. 

{A silence ensues. Baptiste retires up to door l.c.) 

Sylvaine {quietly). That is she ! General, I wish you to see 
her with me. 

Madame Berton {quickly). Ah, but this doesn't seem right. 
Sylvaine {to General Berton). Will you ? 

{Business. After indignant gesture the General collapses slightly 
— amazed — resigned — disgusted.) 



ACT III. LEAH KLESCHNA 59 

(General sits in arm-chair doivn r.) 

Madame Berton (sighing). Well, I suppose / shall agree. 
Sylvaine {crossing in front of table c. — going to her solicitously). 
I'm sorry to disturb you. 
Madame Berton. May we go in there ? {Indicating left.) 
Sylvaine. If you'll be so kind. 

{Taking her wp l.) 

Madame Berton {going up). Come, Claire. 

Claire {aside to her mother). Mamma ! I should like to see her. 

Madame Berton. Hush ! Come ! 

(Sylvaine throws open the door at left and pas.^cs them through. He 
closes the door and turns.) 

Sylvaine {to Baptiste). Bring the young woman here. 
Baptiste. Yes, monsieur. 

{FJe goes up and exits l.c. Sylvaine comes down to fireplace.) 

General. Extraordinary ! Paul, are you aware your servant 
has left a professional thief standing in your hall, with the whole 
house at her disposal ? 

Sylvaine {quietly). Wait. 

(Baptiste ushers Leah in at hack.) 
(Baptiste exits l.c.) 

(Leah comes down slowly to centre. Sees General Berton, looks 
to Sylvaine. She is dressed with great care and looks very 
pretty. There is a hovering expression of joy in her expectant face 
as she looks at Sylvaine. That he dominates her is clear in the 
way she keeps her eager eyes fixed on him. Her appearance has 
its effect on General Berton. He polishes his glasses xvith 
his handkerchief and regards her with surprise.) 

Sylvaine {after meeting Leah's gaze for a moment without speak- 
ing.) Will you sit down ? 

Leah. Thank you, no, monsieur. 
Sylvaine. This is General Berton. 

{The expression of Leah's face changes as she glances at General 
Berton, and then the eager wide gaze returns to them when she 
looks hack at Sylvaine.) 

General Berton knows from his son that you entered my house last 
night to steal. He knows that I let you go free, after discovering 
you here, and he disapproves. 

Leah {always with her gaze fixed on Sylvaine). I've come to 
learn what you want me to do, monsieur. 



60 LEAH KLESOHNA act hi. 

Sylvaine. Yes. What I want you to do is to strengthen the 
resolution under which I was proceeding. They tell me that the 
just course was to put you in prison, but I believe it's the light you 
want to lead you upwards, and not the darkness, and I want you 
to help me believe it. 

Leah. Yes, monsieur. 

General {wJio is chafing at Sylvaine 's procedure). I think this 
is all unnecessary, Paul. 

Sylvaine. No. It's not unnecessary to be deliberate where a 
human soul is at stake. 

(Leah lotvers her eyes and then raises them again to Sylvaine. 
Sylvaine turns again to Leah.) 

It seemed to me when you left here last night that it was not a thief 
I let out of the door. Tell me, was it ? 

Leah. No, monsieur. Not last night. 

Sylvaine {ivith force). Is that a lie ? 

(Leah loohs questioning at him, not able to speak.) 

The jewels — have gone ! 

Leah. Gone ! 

Sylvaine. Yes. After letting you out of the house I returned 
here and found they had disappeared. 

(Leah draivs herself up and an acute look flashes into her eyes.) 

Leah {in a sharp ringing voice). Then it was 

Sylvaine {with great force). Stop ! 

(Leah half looks at the General.) 

{Then firmly.) I want no accusations. Answer for yourself. 

(Leah shrinks back a step and gives a frightened look around at Gen- 
eral Berton and then at Sylvaine. Trying to recover her 
forces, she draws her hand weakly across her eyes, like one that is 
faint.) 
Leah {speaking brokenly). Just a moment, please — I need a 

moment — and then I'll answer you, monsieur. 

{She glances from Sylvaine to General Berton and back again. 
There is a certain hunted look of the criminal about her.) 

It's true — isn't it — that I came here last night to rob you — and if 
the jewels have gone — then who could have taken them— but me ? 
{With a fluttering smile.) Why — the case is as strong as iron 
against me. 

General. Ah ! At last ! 

{A look of suffering now sweeps across Leah's face, she reaches out 
her hand towards Sylvaine.) 



Acsr III. LEAH KLESCHNA 61 

Leah (piteously). Do you believe it, monsieur ? Do you believe 
I took them ? 

{She fixes her great questioning eyes upon him. He remains silent. 
She fades back discouraged.) 

Sylvaine {goes to her — after a pause). Where did you go when you 
left here last night ? 

Leah {nearly dumb 'wiih humiliation). I waited for the morning 
train and then went back to Paris. 

Sylvaine. Did you go to your lodgings ? 

Leah. No, monsieur. 

Sylvaine. Where did you go ? 

Leah. I walked in the streets. 

Sylvaine. This is not the dress j^ou wore last night ? 

Leah. Later I went to the room of a friend. She brought me 
this dress and your letter. 

Sylvaine. Have you seen your father ? 

Leah. No, monsieur. 

Sylvaine. When shall you see him ? 

Leah. I don't know. 

Sylvaine. Why did you come here to-day ? 

Leah. Because you asked me to. 

(Sylvaine contemplates her for a moment slightly, then crosses to 
General Berton.) 

Sylvaine {crosses in front to General). General, is there not 
here something for us to save ? 

General. Do you mean to tell me that this play-acting can 
influence you ? She doesn't deny that she took the jewels. 

Sylvaine. She will deny it. 

General. And you — you will believe the lie of a thief ? 

Sylvaine {ivith past^ion). I believe it's not a lie. I believe the 
girl is no longer a thief. 

(Leah, listening, is swept by a wave of gladness. She leans against 
the table in a languor of joy and clones her eyes to stop her tears.) 

General {rises.) You'll stand between her and the law ? 
Sylvaine. As long as I can. 

General {crossing to l.). Then I've done with you. I shall 
call an officer. 

{He starts up.) 

Sylvaine {goes to table c). General, I suggest that you shouldn't. 
In all seriousness I suggest that you shouldn't. 

General. I'll not listen. What this woman's hold is on you 
is a mystery. But whatever your motive is in protecting her, my 
course is plain. I don't expect you to send for an officer, and, of 



62 LEAH KLESCHNA act hi. 

course, I know that with your help this girl could escape from the 
house. 

Sylvaine. She'll not attempt to escape. She'll see the game 
through. 

(General Berton exits angrily l.c.) 

(Sylvaine looks after him for a moment, then sits r. of table c. and 
leans his head on his hand, seeming to forget the 'presence of Leah, 
who has retired up. She regards him.) 

Leah {back of table c). I must help you. Tell me how, monsiem-. 
Sylvaine {with a desperate air). I don't know what to do. 
Leah {eagerly). You've done enough. You've done all you can. 

{Gets R. of Sylvaine — presently.) 

You believe in me, monsieur ; you believe it wasn't I who took the 
jewels ? 

Sylvaine {taking her hand). I believe you. 

(Leah clasps her hands to her breast in ecstasy.) 

Leah {gently — after a moment). You know who took them, mon- 
sieur ? 

Sylvaine. Yes. 

Leah. But the name must not be spoken. 

Sylvaine {sharply). No ! No ! You understand that. 

Leah {ardently). Oh, yes, monsieur. 

Sylvaine {rises). That's the distracting 

{Turning up c. — looks at Leah — pauses in deep distress and per- 
plexity.) 

I can't use this means to save you 

{Crossing to L.c.) 

His mother is there. If she learns the truth it will kill her. And 
his sister 

Leah {with a sharp little touch of anguish). His sister ! That is 
the young lady you are going to marry, monsieur ? 

Sylvaine {sitting on settee l.c. — staring towards the door at l.). 
She's there, too. {Intensely.) The truth of this must not come 
to her. 

Leah {ardently). Oh, no, monsieur ! 

Sylvaine {turns to her with knee on settee). Above all, that is 
my wish. 

Leah {solemnly, as she leans forward over the table and looks at 
Sylvaine). Above all — that is your wish. 

Sylvaine {turning quickly round). Mind you, his taking the 
jewels doesn't afiect your case at all. If you charge him with it 
it won't save you. 



ACT III. LEAH KLESCHNA 63 

Leah {shrinking back, hurl). Oh ! 

Sylvaike (rises). Yes, yes. But we must make a fight for it, and 
I want you to know what our weapons are and how we can use them. 

{He slo^is and glances round.) 

Now, there's the window. You know that way. 

Leah {surfrised). Why, you just told him I'd see the game through. 

Sylvaine {eagerly). And will you ? 

Leah. Yes, monsieur. 

Sylvaine. But if I can't save you ? 

Leah. Then I'll still see the game through, and you'll not be 
ashamed. 

Sylvaine {taking her hands fervently). No ! Whatever your 
fate is I shall not be ashamed. Whatever good has come to you 
from this, just so great a good has come to me. Henceforth I shall 
wear my faith like an armour. 

{They stand gazing at each other. The door at back opens, and 
General Berton appears. Behind him is a sergent-de-ville. 
General Berton stops on the threshold and contemplates Syl- 
vaine and Leah tvith disapproving gaze.) 

General {to the sergent-de-ville). Wait here ! I'll call you. 

{He enters L.c. leaving the sergent-de-ville in the hall. The others 
see him and separate. He confronts Paul with a grave counten- 
ance.) 

{Coming doivn l.) 

Paul, I've brought the officer. I hope it's not your intention to 
make any further effort to protect this girl, 

(Leah withdraws to extreme back of sofa.) 

Sylvaine {firmly). On the contrary, it's my intention to make 
every efiort. General. This relentless action of yours is more in the 
manner of an enemy than a friend. 

General. I'm acting the only way possible to me. 

Sylvaine. General, do you believe I would lie to you ? 

General. No. 

Sylvaine. Then if I tell you that I know this girl did not take 
the jewels, what would you say ? 

General. I should say that your zeal had led you into a pitiful 
error. 

Sylvaine {strongly). It has not. It's you who are trying to 
rob this girl of every chance she has in life. {With great force.) 
God has set her free and you are waging war against His mercy. 

General. This is rank blasphemy ! Your extraordinary con- 
duct can only be accounted for one way. This woman is controlling 
you. And I'll have done with it once for all. {Calling.) Officer ! 



64 LEAH KLESCHNA act hi. 

{The sergent-de-ville enters — comes to c. at hacJc. At the same 
instant Claire enters on tiptoe. She goes close to the screen 
and listens.) 

Sylvaine (now at high ])itch of determination and aggression). You 
will have it tlicn. You'll have man's justice, you, no matter whose 
heart is hroken. Very well ! General Berton, you can send this 
girl to prison, but not for last night's work. When she went out 
of here the jewels were on that table there, safe, where she had left 
them. 

General. Then while you were away her pals came through 
the window and made of? with them. Officer ! 

Sylvaine {quickly). Stop ! Now I've got to tell you the truth ! 
Raoul told you he came in here last night after it was all over. He 
didn't ! He was here when the girl left. He knows the whole miser- 
able story from beginning to end ; but as Raoul appeared in the first 
chapter, so Raoid appears in the last chapter. If you must have a 

prisoner, take 

{Curtain tvarning.) 

Leah {in a ringing voice). Monsieur ! 

(Sylvaine slops at Leah's exclamation. He looks toivard her and 
sees that her gaze is directed hack of him. lie turns and discovers 
Claire. The latter, who remained bach of the screen up to Syit- 
vaine's last speech, ha^,in her excitement and curiosilij, finally 
come around into full view and is staring at Leah. General 
Berton, whose mind has gradually awakened to the truth, stands 
aghast, gazing at Sylvaine.) 

Leah {coining to centre and assuming an air of semi-bravado). 
Oh, well, what's the use ? There was a professional thief here last 
night, and there's no doubt who it was. There isn't a jury in 
France that would let me off. I'll have to go along with you {to 
the officer.) 

Sylvaine {goes to table c. — going quickly to her). No ! 

Leah {turning sharply to the sergent-de-ville). Come on, come 
on, come on ! 

Sylvaine {in a loud voice). No ! I'll not have this sacrifice. 
General Berton 

(Raoul's voice is heard singing in the hall as he approaches.) 

Raoul {singing). Viens poupoule, viens poupoule, viens ! 
Quand j'entcnds des chansons ! 
^a m'rend tout polisson. Ah ! ! ! 

{He stojis singing as he enters l.c. and sees the people. A sudden 
craven fear comes into his face when he discovers Leah. He looks 
from her to the sergent-de-ville.) 



ACT III. LEAH KLESCHNA 65 

(General Berton sits l.) 
Raoul {his eyes wandering from face to face). Hello ! What's up ? 

(Sylvaine crosses to General Berton.) 
Sylvaine {to him). Now ! This is the end ! 
{Crosses to General.) 

A human soul is at stake ! Is prison the only means ? 

General {overwhelmed, enlightened at last, and scarcely able to 
speak). Paul ! ! 

Sylvaine {after a pause). Officer, there's been a misunderstand- 
ing. You'll not be needed. 

{The Officer stares blankly at General Berton and exits. Claire 
remains motionless, gazing at Leah. General Berton sinhs 
into a chair. General shakes Paul's hand and Raoul stands 
irresolute, fas eyes shifting about.) 



Curtain. 



ACT IV 

Lights. Stage dark. Two blue arcs on hack cloth. Blue arc R. 
shining on to door l. 2 gas branches lighted but turned down 
to the blue. Length behind back cloth for transparency. 

Scene. — Kleschna's lodgings again on the night jolloiving the 
robbery. When the curtain rises the stage is dark, save for the 
glow that comes through windows from the street. The city lights 
twinkle over the roofs. The room is empty and silent. 

{See revolver in table drawer.) 

{Door slam.) 

{Presently the door at back is pushed open, and Kleschna enters, 
followed by Schram. They are coining from the street and enter 
quietly — stealthily. Schram carefully shutting the door, the two 
stand still.) 

Kleschna {in a hoarse whisper). Leah ! 

{Silence.) 
Leah, are you here ? 

{A pause.) 

She hasn't come back. Turn up the gas. 

(Schram turns up gas down l., then up l. Kleschna crosses, and 
throwing open the door at l. steps off. Heard outside.) 

Leah ! 

{He re-enters. His face is set, and there is a solemn thrill in his voice 
when he speaks.) 

They've taken her, Schram. As sure as you're alive, they've taken 
her. 

{The two men stare at each other — Kleschna sits l.c.) 

Schram {comes down l.c. — after an instant's pause). Well, you 
wouldn't listen, eh ? I said, let me do it. I said, leave our work 
to the man-thief ? Didn't I say it ? Didn't I ? {Reprovingly.) 
What led you wrong, Kleschna, an old hand like you ? 

66 



ACT IV. LEAH KLESCHNA 67 

Kleschna {in gloomy desperation). I don't know — I don't know. 

{He glances across.) 

Did you lock the door ? 
ScHRAM. Yes. 

(Kleschna sinks down into a chair at table and drops his head for- 
ward on his hands.) 

Kleschna. Huh ! Well, I don't care whether you did or not. 
Let 'em come in on us. What diSerence does it make now ! 

{He twists his fingers viciously through his hair. Presently he flings 
back his head in a miserable rage and jumps to his feet — crosses 
to R.C.) 

They've got my girl, Schram ! Do you know that ! She's in Saint 
Lazare at this minute, down there in the dark with a stinking lot 
of thieves. 

{He turns and clutches Schram by the coat.) 

What did you let me do it for ? Why didn't you stop me ? You 
could have. Why didn't you ? 

Schram. What more could I do ? 

Kleschna {violently). You could have choked common sense 
into me — 

{Takes Schram by the throat.) 

like I choke it into you. Why didn't you take me by the throat 
and say, " You won't send her in there^ — you won't do it, do you hear ? 
— you won't do it." 

{He is half -choking Schram with the grip he has taken of his collar.) 

Schram {tugging away). Let go, Kleschna ! Let go, man ! 

{He frees himself.) 

Kleschna {insanely unreasonable, and exhausting his rage upon 
Schram). What good are you to me when you let me hand her over 
to the police like that ? What good are you ? 

Schram. I tried 

Kleschna. No, you didn't. 

{Throws him off.) 

If you'd tried you could 'a stopped me. You oughter killed me 
first — beat me blind with the first thing that come to your hand. 
But you didn't. And now she's got ten years of it before her. 

{He flings his arm across his eyes and sinks into the chair l.c.) 

My God, Schram, we've lost her ! We've got to live alone ! 



68 LEAH KLESCHNA act iv. 

ScHRAM {goes up l. to l.c. — after a moment). Wait ! Ain't there 
some way to save her ? Couldn't I go down there and say it's me 
they want ? Can't it be twisted round some way like that ? Think, 
Kleschna — think ! Ain't there some way for me to take it on my- 
self ? 

Kleschna. No, you fool ! No ! 

{He glances up at Schram.) 

The sensible thing for you to do is to get away from here. 

Schram {with a sudden lowering of the head). Eh ? 

Kleschna. I say you'd better get away from here. What's 
the sense of your taking any risk now ? I'm going to stay because 
— well, because there's just a bare chance they didn't get her after 
all — there's just one crazy chance she's dodging 'em and waiting 
to pop in here. Well, I'll be here if she comes ; but you, Schram, 
you go save your skin. 

Schram {springing towards him in a passion). Kleschna ! Don't 
you dare say that ! You can run the game and run me ! You can 
kick me into a corner like I was a dog ; but, by God, I'll — I'll kill 
you for one more word like that. 

Kleschna {rising and brushing Schram aside). Go 'way. 

{Crosses to r.c.) 

Schram {folloicing him up). No, I won't go 'way. {In a hreah- 
ing voice). You never saw the day you loved Leah like I do, and you 
can't stand there and 

Kleschna {interrupting). Quiet down, quiet down. Stay here 
if you like, only 

{He stops and peers into Schram's face as the latter hangs his head.) 

Why, you ain't crying, are you ? 

Schram {turning up, with a snuffle). Well, you said go save my 
skin — like you might say it to any one. 

Klesckn A {sharply). I told you you could stay. Now stop your 
nonsense. Help me pack up the things. 

(Schram goes up l. — gets clothes and portmanteau.) 

If Leah should come in — if she should come — we want to be ready 
to move the moment she gets here. 

{Going up b..) 

I want some brandy now — and then we'll pitch the things together. 

{He gets a bottle and glass on table up R. Schram comes down to c. 
with a travelling bag from behind the washstand curtains. This 
he places on the floor, tJtnrowing it open. He also gets soyne coats 
and vests from the hooJcs in centre. NeitJier speaks for a moment.) 



ACT IV. LEAH KLESCHNA 69 

ScHRAM (kneeling c. — at last). Kleschna, it makes no difference 
whether Leah's been taken or not, you've lost her. 

{Folds waistcoat — puts it in hag.) 

She'll never do another job for you — and take my word for it. 

Kleschna {looking quickly up as he pours out some brandy for 
himself). What d'ye mean ? 

ScHRAM. Well, it's plain enough — it's been plain enough for a 
long time. She'll never do another job, I tell you. Perhaps she'll 
come back and perhaps she won't ; but whether she does or not 
she don't belong with us any more, and she's going to let you know 
it. 

Kleschna {sternly). You're talking mighty free, Schram. 

ScHRAM. Oh, well, bat me on the head if you like. 

{Picks up coat.) 

Now, I tell you what I believe. There's something strange going 
on — and Leah hasn't been captured at all. 

{Puts coat in bag.) 

Kleschna (with a start). Why do you say that ? 
Schram. If she found herself in trouble last night, why didn't 
she fire the shot to tell us so — the way she agreed ? 

{Folds second coat.) 

Kleschna {sitting sloivly near Schram). Yes — yes. I've asked 
myself that. 

Schram. Well, there's no answer — eh ? 

{Puts coat in bag.) 

The drunken crowd of singers that climbed into the garden — they 
came directly out again. They saw nothing — it's plain they saw 
nothing. Leah was all right up to then. 

{Picks up second waistcoat.) 

Kleschna {nodding). Right ! Right ! 

Schram. Then the officer idled about there for the next hour, 
didn't he ? Would he do that if there'd been a captured burglar 
inside the house ? 

{Puts waistcoat in bag. He pauses — then goes on.) 

And this Sylvaine. Suppose she met him face to face ? You saw 
that man, Kleschna. What would happen if Leah met him face 
to face ? 

Kleschna {contracting his brmvs). I don't know. 

Schram. Would he grapple with her — like he'd grapple with a 
man ? 



70 LEAH KLESCHNA act iv. 

Kleschna. Probably not. 
ScHRAM. Would he talk to her ? 
Kleschna. He might. 
ScHRAM. And would she listen ? 

(Kleschna turns his head slowly and looks at Schram.) 

Kleschna [softly). Schram ! 

Schram. If she'd been dreaming of him for a year past — 

{Leaning towards Kleschna.) 

would she listen — when he spoke to her ? 

Kleschna {after a pause). Schram — you've got it right. He 
talked to her — and she listened. 

{He reaches over and catches at Schram's sleeve.) 

What do you make of it ? 
Schram. I make a lot of it. The police haven't got her. 
Kleschna {sharply). D'ye think — d'ye think 

{He stops.) 

Schram {Getting to his feet). I don't dare think too close about 
it. 

{Takes up bag— puts it up r. He goes up toivard the window l.c.) 

(Kleschna looks after him, then turns and thrusts his hands deep into 
his trousers pockets.) 

Kleschna {rises, crosses to L.—to himself). Ay, ay ! there's 
reason in it. 

{Suddenly springing up.) 

Well, it's for us to throw the things together and be ready to leave. 
Schram, go into Leah's room and bring her trunk in. Now then, 
what are you doing out there ? 

(Schram has opened the windoio and is leaning over the balcony 

outside.) 

Schram. I'm looking for Leah, I thought perhaps 

{He stops as if he satv something.) 

Kleschna {noting the movement.) Eh ! Well ! 
Schram {bending forward). Wait ! 

{Bell ready.) 

Kleschna {making an eager step up). What is it ? What d'ye 
see ? 

Schram. I see some one that looks like her. 



ACT IV. LEAH KLESCHNA 71 

Kleschna {hurrying on to the balcony). Where ? Where ? Let 
me see ! 

ScHRAM {'pointing). Look at that girl crossing the street ! 

{They bend over the balcony.) 

Kleschna. Yes — that should be her walk. {Excitedly.) Oh, 
Schram, d'ye think, d'ye think it. Wait ! 

{A pause.) 

She's turning into the door. 

{Turning exultantly.) 
It's Leah ! 

{As he comes in — down c.) 

Now, then, we'll be out of here in another half-hour. 

ScHRAM {following him). Be careful, Kleschna, be careful what you 
say to her. I think you've got to be smoother now than you ever 
were in your life. 

Kleschna. Oh, stop your croaking ! She'll be glad enough to 
get out of town, won't she ? 

Schram. I don't know. 

{The door bell rings.) 

Easy ! She's at the door. Now then ! 

(Schram goes quickly out l.c. Door slam. Kleschna stands 
waiting R.c. Schram backs into the room again, and holding the 
door back, stares at Leah as she enters. Leah is fale, haggard 
and tveary. Kleschna makes a movement towards Leah — 
stops — Leah drops her hat on chair up c. She stands looking for 
a moment at her father, then walks sloivly to the table and sinks 
into a chair back of table. Kleschna and Schram watch her 
ivithout speaking.) 

Kleschna {at last). Well, Leah ! Where have you been so 
long ? 

Leah {sullenly, as she stares at the ground). I've been walking the 
streets — I've been walking by the river. 

(Kleschna and Schram exchange glances. Then Kleschna goes 
around the back of table to l. of Leah.) 

Kleschna {leaning across the table and speaking sharply). Well — ■ 
what about the jewels ? What happened ? 

Leah {looking slowly around at him). Don't you know ? 

Kleschna {impatiently). How should I know ? Why haven't 
you been back before ? 

Leah {looking away from him again). I didn't want to come back. 

Kleschna. You didn't get 'em, eh ? You didn't get 'em. 



72 LEAH KLESCHNA act iv. 

Leah {stwpidly). No. 

(Kleschna clutches the table and leans fonvard, regarding her with 
angry eyes. She looks away from him absently.) 

Kleschna {with a grunt). Well, will you wake up ? Will you 
come out of this trance you're in ? {Raising his voice powerfully.) 
Give an account of yourself — d'ye hear ? Give us the story — and 
be quick about it. 

Leah {leaning forward wearily). Don't roar at me, dad — don't 
roar at me. That doesn't interest me at all. 

Kleschna {springing totv^-ck^ier in a rage), t^Whj, jon 

ScHRAM {by chair — back of table L. — reaching quickly out and press- 
ing him back). Easy, Kleschna — easy. 

(Leah does not notice her father at all, but is looking away from him, 
absorbed in her own thoughts. Kleschna, restrained by Schram, 
glowers at her, then sits slowly down, without removing- his gaze 

\ from her.) 

Kleschna {sits l. — 'presently, in a quieter tone ,repressing his 
anger). Well, what's it to be ? Do we get any story from you ? 

Leah {looking up and making an effort to collect her. wits). He came 
in — and found me. .. ^ -. -^ #*■•>— - 

Kleschna. Sylvaine ? 

Leah. Monsieur Sylvaine. He came in and found me. 

{She stops and looks around at her father.) 

What made you think you could beat a man like that, dad ? 

Kleschna. Eh ? 

Leah. You couldn't — you never could. He was certain to beat 
us. 

Kleschna {sharply). Now stop that drivel. GiVejjne\tile fa^jts. 
What happened ? 

(Leah draws her hand across her eyes. She seems to want to clear 
her mind and speak, but suddenly a look of pain sweeps across 
her face, and she springs passionately to her feet.) 

Leah {fien-cely-^ises — crosses to r.). Oh,! won't go all over that 
scene again ! I won't ! {Beating her bosom.) It 'ifakes me sick. 

{Flinging around towards her father — business.) 

Did you Icnow all the time — did the two of you know he was the 
man ? 

Kleschna {rises). What man ? 

Leah. Did you send me in there knowing it was him ? 
{Viciously.) If you did— curse both of you. 

{Goes up c.) 



ACT IV. LEAH KLESCHNA 73 

ScHRAM {frightened). Leah ! Don't — don't ! 

(Pause.) 

Kleschna. So— you've been walking the streets all day ? 
Leah [dully). No ; I went back to Saint Cloud. 

{Comes down to chair l.c.) 

(ScHRAM crosses to chair r.c.) 

Kleschna (aggressively). To-day ? Do you mean to tell me 
you've seen that man to-day ? 

Leah. He sent for me here — and I went to him. 

Kleschna (crosses to c. — amazed). Sent for you here ? You 
haven't been here. 

Leah. I came to see Sophie. I sent her up to tell you — to tell 
you I wasn't coming back again. She didn't find you — but she 
brought me his letter and the things I needed. 

Kleschna. His letter. Ha ! He wrote to you. By God, 
things are travelling fast with you, eh ? Now I think I see why 
you turned sneak — why you didn't play the game out. 

Leah (blazing up). I 



(She stops herself and turns aside.) 

3 what you think — and I don't ca] 
th it, and 

(With a pitiful, despairing gesture.) 



Oh, I don't care what you think — and I don't care what you say. 
I've finished with it, and 



It's finished me. 

(Sinks on chair l.c, head on table.) 

Kleschna (over her). Look here ! Wliat's all this ? You know 
who you are, don't you ? Are there any crazy notions creeping over 
you that perhaps you're some one else ? You're Kleschna's 
daughter, eh ? Kleschna's daughter. The child of a thief — a thief 
yourself ! Now will you dare lift your eyes to a man that 

Leah (turning in her chair ivith a sharp cry). Father ! 

Kleschna (pointing at her). Ah, I've got you ! That's why last 
night's job failed. You found yourself robbing a man you love. 

(With a smothered cry Leah rises — makes a dash towards Kleschna 
as if to strike him. Then she catches herself up short, covering 
her face, gasping hysterically, and suffering horribly from rage 
and shame.) 

ScHRAM (r.c. — hoarsely). Kleschna, this ain't right^by the Lord, 
it ain't right. 

Kleschna (bending above Leah). I've raised up a fool for a 
daughter, have I ? Well, that can't be helped. But I won't stand 



74 LEAH KLESCHNA act iv. 

the cheek of you when you refuse to give a decent account of your- 
self. There was a fortune in your hands and you let it go. 

{He reaches out and roughly pulls her hands down from her face.) 

Uncover your face and tell me why. 

Leah {tearing her hands away). Don't touch me — I 

Kleschna {pursuing her relentlessly). Tell me why you've come 
slinking back here without the jewels. Why ? 

Leah {throwing her head back defiantly). . Because I'm not a thief 
any more. 

Kleschna. Oh, you're not. Well, / am. Remember that ; I 
am. 

Leah. So you are, dad. You're a thief that prowls in the night, 
and you creep near the walls with your shoulders down — and you 
daren't raise your eyes from the ground for fear that God will strike 
you blind. 

Kleschna {fiercely). I'm afraid of nothing. 

Leah {in a great voice). Then I am ! I'm afraid of the judgment 
that's on us all. 

{Moves to front of tabic.) 

{Her words bring Kleschna to a standstill. He looks long at her. 
Schram comes down between them.) 

Schram (l.c). Come away from here, Kleschna. Get the things 
together and come away. 

(Kleschna and Leah stand looking into each other's faces. At last 
Kleschna drops his eyes and gives a brutish little grunt.) 

Kleschna. Umpli ! Well, we'll have all this out later, and in 
good fashion. I've been grieving about you all day. I thought 
you'd been taken. {Sneering.) Grieving about you ! And all the 
time you'd sold us out ! 

{At a movement from Leah.) 

Yes, you did ; you sold us out. I don't know what the price was — 
but I will know — and I'll get even — don't fear but I'll get even. 

{He is again looking into Leah's eyes. She regards him without 
flinching. After a moment, pointing to the door at left.) 

Now go in and pack up your things. We're going away. 

Leah {calmly). Yes. That's what I came back for — to tell you 
I was going away. 

Kleschna. Yes ; with me. 

Leah. No ; not with you. I'm going alone. 

(Kleschna starts.) 
Schram (r.c). I told you. 



ACT IV. LEAH KLESCHNA 75 

Klbschna {sternly, with his gaze fixed on Leah). What are you 
saying— going away alone ? 

Leah. I'm going away alone. 

Kleschna. Where to ? 

Leah. I'm going — home. 

Kleschna. Home ? What do you call home ? 

Leah. I had a home once. My mother's home. 

Kleschna. You haven't any mother now — and your home's 
with me. 

Leah. I'm going to leave you. 

Kleschna {beginning to he alarmed). For — how long ? 

Leah. I'm going for good. 

Kleschna {rnoves to her — breaking out fiercely). You can't do 
it 

Leah {in clear tones). I'm going to-night ; now. 

(ScHRAM moves up l.c. Kleschna sees the implacable resolution in 
Leah's eyes, and he ivavers. Falling back, he runs his hands 
up through his hair. He is conquered. Schram stands pale 
and frightened in the background. Kleschna retreats gradually 
to the table and sits L.c His ferocity has evaporated before a 
craven fear with which the realization that Leah is leaving has 
filled him. Leah retires up to the ivindow r.c. and leans dis- 
consolately against the frame.) 

Kleschna {in a changed voice, after a long pause). Wait ! Wait ! 
We've got to pull ourselves together a bit now. We've been talk- 
ing — kind of wild — and perhaps we haven't meant all we've said. 

{He glances up towards Leah furtively. Schram watches Leah.) 

Kleschna {calling). Leah ! 

Leah {turning up at tvindow r.c). Yes. 

Kleschna. You— you said a terrible thing to me just now. 

Leah. Yes. 

Kleschna. It was a — a mad thing to say. {The old scowl 

comes back.) You can't leave me {Catching himself.) But 

there. We'll go easy. It's one thing to quarrel — it's another 
to talk of separation. You wouldn't go right away from me and 
never come back. 

Leah. Yes, that's what I'm going to do. 

(Kleschna makes a movement, then falls back, and a sick expression 
overspreads his face. He grips the table and pulls himself up.) 

Kleschna {affecting a pathetic air). Why, I'm getting to be an 
old man, Leah. You're all I've got in the world, and I thought I 
was all you'd got. A girl don't go off and leave her father like that. 
You'll think this over for a day or two — eh — and let me take you 
away now. 



76 LEAH KLESCHNA act iv. 

Leah (wearily). I've been thinking it over. Up till a few min- 
utes ago I thought there was only one way out of it. But I couldn't 
do it. I couldn't go into that black river. 

ScHRAM (under his breath). God ! No ! 

(Kleschna sinks on to chair l.c.) 

Leah. That's a miserable, mean end for a girl, and she mustn't 
— she mustn't. But what's left for me to do ? I've searched and 
searched and got no answer ; but something seems to tell me to 
go home — to my mother's home — among the simple people. 

(Turning and looking at Kleschna.) 

(Comes forivard.) 

My mother was simple, and good — wasn't she ? 

Kleschna. Yes. 

Leah. Why didn't you let me be like her, dad ? Why ? 

Kleschna, A peasant girl working in the fields ! 

Leah (in a ringing voice). A peasant girl working in the fields ! 
Why didn't you let me be that ? Then I could breathe. What am 
I now ? Something the peasant in the fields would spit on. 

Kleschna. Leah 

Leah. Don't you know there's no chance for me now ? All 
those years can't be wiped out. Why did you lead me into it, dad ? 
Why? 

Schram. Your father's been all right to you, Leah ; he's been 
all right. 

Kleschna. Hush, Schram! 

Leah. Yes, Schram's right. I've been putting it wrong. 
You couldn't have led me into it. It must have been that I was 
vicious myself. I must have been blind, anyway, and dull 

(Crosses to chair r.c.) 

Perhaps some of us are born blind like that, while those others 
see clear without trying. (With a little hopeless movement.) Oh, 
I don't know. I only know they'll never forgive you when you're 
like me ! It's the law of the good people. They never forgive. 
You're lost for ever, and to begin all over again you have to die. 

Kleschna (rises, crosses to Leah — presently). Well, I'll say this 
to you, Leah. Whatever you are, it's good to have the courage of 
it. The thing the good people and the bad people won't forgive 
is the snivler. If you're an outcast, shut yom^ teeth together and 
go through. The rest is weakness, and the God you've been quoting 
to me probably tolerates that less than anything else. Go through, 
I tell you, and don't whimper. 

Leah (holding her head high, and looJcing at her father). I intend to 
go through, but not by the road you've set me. 



ACT IV. LEAH KLESCHNA 77 

Kleschna {doggedly). But the point is — you won't go away from 
me. Look here, Leah, we'll talk it all out when we're safe away 
from this. And I'll say now, I'll never ask you to do anything 
again that goes against you. There ! You can live as decent as 
you like. 

Leah. And how will you live, dad ? 

Kleschna. Well, what does it matter about me ? Just look 
on me as your father, who wants to keep a good home about you. 
There's scarcely a girl in the world who knows any more about her 
father than that. 

{Moves a little to c.) 

Leah {sadly). Oh, you don't understand. I tell you I'm going 
a new road, dad, and I've got to take it alone. Why, you couldn't 
follow it if you tried your best. How I'd take you if you could ! 

Kleschna. It leads back to the fields. 

{Bell ready.) 

Leah. Back to the silent fields. 

Kleschna. Among the peasants that labour with their faces 
to the ground. 

Leah. Even on their knees with their faces to the ground. 

Kleschna {m fierce desperation). By God, you shan't do it. 
You'd go mad out there, and I'd go mad thinking of you. I'd 
rather see you in the river. 

Leah. I've chosen a harder way — 

{Moves down a little R.) 

and I'm Kleschna's daughter — I shall go through without snivelling. 

{Extending her hands.) 
Good-bye, dad ! 

Kleschna {with a poignant cry). Leah ! Leah ! 

{The door bell rings loudly.) 

{All pause and glance slowly at the door.) 

ScHRAM {up L.c. — whispering). If that's the police ! 
Leah. It's not the police. Go to the door, Schram. 

(ScHRAM goes into hall. The others stand silent, waiting. Door 
slam. Presently the sound of angry voices is heard from outer 
door.) 

ScHRAM {heard off). No ! You're not wanted. I tell you to go. 

(Raoul Berton's voice is heard.) 

Raoul. Garnier ! Garnier ! Garnier ! 



78 LEAH KLESCHNA act iv. 

(Raoul enters quickly, glancing apprehensively behind him. He looks 
white, mean and frightened, and is plainly a hunted man. Schram 
pursues him threateningly.) 

Schram. He sneaked past me like a rat. Now we don't have to 
be nice to him any more. Out he goes. 

{Rolling up his wristbands.) 

Over the stairs, if it breaks his neck ! 
Raoul (abjectly). No, for God's sake let me stay. 

(With a quick movement — crosses to Leah.) 

Leah, help me ; I'm in trouble. 

Leah (down r. — regarding him contemptuously). Are you ? So 
the great fear is on you at last, eh, like it's on all thieves ? 

Raoul. But you'll take me in, Leah ! Remember — I did it 
for you. 

Leah (throiving her head back angrily). Now then ! 

Kleschna (c. — starting sharply). What d'ye mean ? (To Leah.) 
What's he done ? 

Leah. Take him in and give him shelter. He's a better workman 
than I am. 

(Kleschna's glance flies from one to the other. He comprehends.) 

Raoul {always glancing in terror at the door) . Lock that door ! 

Schram {doivn l.). Can't you see, Kleschna, the man's running 
to cover ? Now, will you go to sleep again and let him bring the 
police in on us ? 

Kleschna {fiercely — to Raoul). Speak out and speak quick ! 
Are you being followed ? 

Raoul {pitifully, terrified, and going to the table to support himcelf). 
No — no ! I shook him of! ! I knew he J^wanted me — I never saw 
him before — but I knew it. I dodged into a cafe back of the Made- 
leine, and out by another door. He lost me — he clean lost me, I 
tell you. Take me in, Kleschna, and I'll cover you with money. 
Remember, I've got the lot of 'em, the whole glittering lot of 'em. 

(Kleschna draws himself up and hesitates.) 

Schram {looking towards Kleschna). Will you play the fool 
again — will yer ? 

(Kleschna deliberates an instant — goes to door, opens it, then takes 
a decisive step towards Raoul and points to the door.) 

Kleschna. Go out of here ! 

{With a look of delight Schram goes up to chair back of table.) 
Raoul {flinging himself towards Kleschna in frantic appeal). 
No, Kleschna, don't put me out like that. I'll do anything you 



ACT IV. LEAH KLESCHNA 79 

say. You can take charge this minute. You didn't get the jewels 
and I did. You want your share, don't you ? You'll know how to 
get rid of 'em. And what are they worth ? A million francs if 
they're worth a sou. A million, Kleschna ! A million ! 

{Again Kleschna hesitates, his eyes fixed on Raoul.) 

Kleschna {to himself). A million ! 

Raoul {eagerh/). The lion's share for you if you'll take me in. 

ScHRAM. Don't do it, Kleschna. 

Raoul. Do it ! 

ScHRAM. Don't do it ! 

Kleschna. Wait. 

{He glances round. Then to Raoul, sharply.) 

You shook him oli — you know you shook him off ? 
Raoul. He's lost every trace of me. 

(Kleschna plunges his gaze on the ground, then after a moment gives 
a backward jerk to his head.) 

Kleschna. I'll do it. Shut that door. 

{As he utters the words Leah, tvho has been eagerly ivatching him, 
glides swiftly towards the open door to escape.) 

{Observing her and shouting sharply.) Schram, stop her ! 

(Schram has already noted Leah's movement, and being close by the 
door, he slams it and puts his back against it. Kleschna steps 
quickly to the door and locks it himself, extricating the key). 

{Facing Leah.) 
You'll stay here. 

Raoul {coming forward and speaking maliciously). Yes — yes. 
I want her here. We can't make our bargain without her. 

(Leah ivhirls around upon Raoul ivith a cry as if she had been struck.) 

Leah. Oh ! 

Schram {in a gasping rage). Kleschna — did you hear him — and 
d'ye understand ? 

Kleschna {after looking slowly from one to the other). I heard — 
and we'll talk business. 
. Leah {poignantly). Father ! 

Kleschna {confronting her sternly). Now, we've finished with 
all that, and make up your mind to it. I've decided to stand in 
with this deal. It's a fortune if it's handled right, and we're going 
to do our duty — every one of us. 

{To Leah.) 

You didn't do yours last night ; you'll do it now. 



80 LEAH KLESCHNA act iv. 

{He crosses to table.) 

Come here, Berton ; sit down there and let us understand each other. 

{Fixing him keenly ivith his gaze.) 

And remember who you're dealing with. 

Raoul (going up to him, elated). I'll deal fair, Kleschna ! Here's 
my hand on it. 

Kleschna {knocking his hand aside). I don't want yoiu: hand. I 
want the jewels. Sit down. 

(ScHRAM steals up to Leah.) 

Schram {aside to her). I wish I hadn't stopped you, Leah — I wish 
I hadn't. 

Kleschna {seeing everything). And no words from you, Schram. 
You pack the things and keep away from Leah. 

{Pointing to a chair opposite to Raoul.) 

Leah, I want you to sit down in that chair there. 

Leah (wp c. — in a cahn, ominous voice, having controlled herself). 
No ! I'll stand away from you and him. And here's a good 
thief's reason why you don't touch this business 

{Gomes doivn r.c.) 
It's dangerous. 

Kleschna {scowling). I'm not asking any advice from you. 

Leah. You'd better. That man on the case — he'll get the lot 
of you in the end. 

(Raoul leaps from his chair and goes up close to Leah.) 

Raoul {in a fierce aside to her). It was you that told — I know it 
was you ! 

{With a proud look of contempt Leah steps aside out of his way and 
continues across to Kleschna.) 

Leah. If you don't put him out you'll be taken out yourself — 
and that's gospel. 

Schram {up c). She never lied to you yet, Kleschna — she never 
led you wrong. 

{Comes down l.) 

Kleschna {crosses to Leah). Look here ; you seem to have a 
lot on your mind, don't you ? Now, what d'ye know ? 

Leah. What you ought to know. Do you remember that pal 
of yours who was caught last year away ofi in Buenos Ayres ? 

Schram (l. of table — breaking in). Toni Hecht. 

Leah. That was the man — Toni Hecht. 

Kleschna. Well ? 



ACT IV. LEAH KLESCHNA 81 

Leah. Who was it caught him — months after every one had for- 
gotten him ? 

Kleschna {glancing up sliarply). Huguenin ! Felix Huguenin ! 

Leah. And you said at the time, " I'd rather have the devil 
himself at my heels than Felix Huguenin ! " 

Kleschna (quickly). And so I would. 

Leah. Well, it's Huguenin that's following him now. 

Raoul {vehemently). I don't believe it — I don't believe it ! 

Kleschna {turning to Raoul with a troubled look). Did you see 
him — a little man — a little black-browed 

Raoul {breaking in violently). No — no ! Nothing like that ! 

Leah {quietly). He lies ! It's Huguenin ! 

Kleschna. Did you see his face — with the scar that goes the 
whole length of it ? 

Schram. The scar that Toni Hecht gave him when they fought. 

Raoul {with a shiver). No, I tell you. It wasn't him. 

Leah. He lies ! It's Huguenin ! 

Kleschna {turning sternly upon Leah). How do you know ? 

Leah. Ask him if he didn't try to pawn a brooch to-day at 
Salomon's in Rue Pigalle. 

Kleschna {sharply — to Raoul). Did you do that ? 

Raoul. Yes. I needed money. 

Kleschna. You d d fool 

{Gets behind table l.) 

And you went to Salomon, a man who can smell a thief through 
iron doors. 

Leah. And who did he meet when he was leaving Salomon's ? 

Kleschna {to Raoul). Who ? 

Raoul {sullenly). Eh ? Well — I met the girl that lives on the 
floor below. 

Leah. Sophie Chaponniere. 

Kleschna. Ah ! 

Leah. Well — now then — there's the story. 

(Kleschna cotnes down l. of to6fe— Schram by chair back of table.) 

Salomon and Sophie are old friends. He's lent her money on every- 
thing she's ever owned. Sophie said : "Do you know who that is 
that just went out ? " And Salomon said : " I know he's a thief." 
Sophie said: " Prove it, and I'll give you a kiss." And old Salomon 
laughed and said : " It's easy enough. I know who made the brooch 
he just ofiered me. Artois Fils in the Boulevard des Capucines. 
Here's their number ofi the back of it. Go up to Artois and they'll 
tell you who they sold that brooch to, no matter if it was fifty years 
ago." Sophie took the number and ran ofi to Valentin — Valentin, 
whe's been waiting to pay him back for insulting his sweetheart. 
Valentin knows every detective in Paris, and the one he knows like 



82 LEAH KLESCHNA act iv. 

a brother is Felix Huguenin. Hugiienin's been on tlie case since 
morning. He's found out all about the robbery from Monsieur 
Sylvaine's servants, and if the thief expects to get away from Hugue- 
nin, he'll have to be a better man than Toni Hecht. 

{Turning to Kleschna.) 

Notv, then, will you put him out ? 

{The three men have heard this recital %oith much emotion. Kleschna 
stands silent zvhen it is finished, Raoul eagerly waiting its effect 
upon him.) 

Raoul. It isn't true— it isn't Huguenin following me. But 
suppose it is ? Isn't the game worth the risk all the same ? Look 
at the chances you took last night. Now you get the jewels as a 
gift — with nothing to do. We can all go away from here together; 
we can go to London or Brussels — somewhere where they can't 
find us. 

{Gets on edge of table — puts his hands on Kleschna's shoulders.) 

Where's the danger ? They can't take Kleschna — they're not 
smart enough to take Kleschna. 

{He is speaking rapidly and intensely close to Kleschna's ear, and 
Kleschna is listening eagerly. Pushes him aside — crosses to 
Leah.) 

Kleschna {after a pause — comes to Raoul). Where are the jewels 
now ? 

Raoul. They're safe. 

Kleschna. Not if they're at yoiu- rooms. Huguenin will have 
that point covered. 

Raoul. I tell you I've got them safe. If you want to know, 
they're at a little hotel over by the Gare de Lyon. 

Kleschna. Good ! Good ! That's reasonable. 

Schram (l.). Kleschna — remember Toni Hecht. 

Kleschna {turning on Schram). Shut up with your Toni Hecht. 
Toni Hecht was a fool. The game's worth it and we'll take it on. 

Raoul {exultantly). Ah ! 

{Rises, puts chair up a little.) 

{Advances, hut stops, and then catches Kleschna by the sleeve.) 

And what does she say ? 
Kleschna. Who ? Leah ? 
Raoul {loofwig over at her). She doesn't say anything, 

{Raising his voice.) 

And I tell you there'll be no bargain without her. 



ACT IV. LEAH KLESCHNA 83 

(Leah catches her breath angrily.) 

Kleschna {doubtful of his ground). Oh, Leaii'll be all right. 
Don't worry about her. 

Raoul. I want to know this. Does she come along with us 
now ? 

Leah {in a clear voice). No ! 

(ScHRAM goes up L. to c.) 

Kleschna {crosses to her in a menacing way— sternly). You're 
going with us. 
Leah. No. Not even as far as the door. 

(The three men look at Leah ivhile she gazes away from them.) 

Raoul. What do you say to that, Kleschna ? 

(Kleschna's fiead goes doion in a dogged, dangerous attitude.) 

Kleschna. I'll arrange it — I'll arrange it. 

{After looking long at Leah's averted face.) 

We're leaving here now — the four of us. 

(Raoul crosses behind Kleschna to Leah.) 

(Leah dodging aside as Raoul goes near her.) 

Leah (crossing quickly to table l.). If that man touches me, I'll 
kill him. 

Schram (up c. — under his breath). Bravo, Leah ! 

(Raoul, who has cowered before Leah's vehemence, regards fier with 

evil eyes.) 

Raoul (viciously). And that won't drive me off, either. I'll 
forget even that. 

(Moving swiftly to Kleschna.) 

Kleschna, it's in your hands. What's it to be ? 

Kleschna. What did I say before ? I said the four of us were 
going out of here together. I say it again. I was made a fool of 
last night, and that doesn't happen twice. (In a great voice, con- 
fronting Leah.) Now will you come to your senses ? Will you 
come with us peacefully ? 

Leah (looking straight into his eyes). Unlock that door. I'm 
going out alone. 

Kleschna (turning back his wristbands menacingly). Leah ! 
Will you put me to it ? Will you ? 

Leah (in a strong voice). Yes. Go on and kill me if you like. 
I've looked into the face of death once to-day— and I'm not afraid. 

ScHRAM (hoarsely). Kleschna. She'll win ! 



84 LEAH KLESCHNA act iv. 

Leah {as her father hesitates). Kill me ! It's the one thing left 
you to do. I've turned traitor. I'll never steal for you again. 
I'll never blackmail for you again. And if he offers you ten times 
that million, you can't make me live a day under the roof with that 
man there. You've got me prisoner here, but I'm free of you, body 
and soul — for ever. 

Kleschna. I'm your father. 

Leah. No ! God help you, dad ; you're not even any longer 
my father. Till to-day there was some bond that made you so, but 
now the very bone and fibre of you has gone out of me — and you're 
not my father any more. 

Kleschna. I'll show you that I am— more than I ever was 
before, for you'll obey me now as you never obeyed me before. 
Once for all, will you go out of here — peacefully ? 

Leah. No ! - 

(Moving slowly up to back of table to get revolver out of table drawe- , 

Kleschna. Then you'll go out bound hand and foot— gagged — 
carried out like a dead woman. Will you go ? 
Leah, No ! 
Kleschna {with awful viciousness). Damn you ! 

(Kleschna raises his fist to strike Leah a frightful blow full in the 
face. At the satne instant Leah, who sees the blow cotning, sweeps 
around back of table. She pulls open the drawer and, catching up 
the revolver that is there, faces round.) 

Raoul {in a terrified voice). Look at her, Kleschna ! Look ! 

(Kleschna wheels and sees her, and Jiis jaw drops.) 

Kleschna {aghast). Ah ! Would you draw on me ? 

Leah. No. It's for me. You've made me ashamed to live. 

{She raises the pistol and turns it towards herself. As Kleschna and 
ScHRAM, inarticulate, make a helpless, despairing move toivard 
her, the clear, natural voice of Sophie is heard calling from the 
balcony below.) 

.^^SoPHiE {calling). Leah ! Leah ! ' 

(Leah stands motionless, with the revolver poised aloft. The others, 
brought to a standstill, turn their horror-stricken faces slightly 
at the sound of the voice.) 

Sophie {calling again). Are you in your room, Leah — dear ? 

{The cheerful little voice seems to draw Leah back from her tragic 
resolve. She wavers, the hand holding the revolver descends, puts 
revolver on table, and the expression of her face changes, as if hope 
and courage come suddenly back. She utters a sort of sob, and 



ACT IV. LEAH KLESCHNA 85 

then moves ra'pidly bach to the balcony. The others, paralysed, 
can only watch her.) 

Leah {calling out with difficulty, as she clings to the windoio frame). 
Yes, Sophie ! Here — here I am ! 

Sophie (happily). Oh, is that you, Leah ? I'm so glad. I 
want you to come down. 

Leah. Yes ? What — what do you want, Sophie ? 

Sophie. Monsieur Huguenin is here ! 

Kleschna (gasping). Huguenin ! 

(Bell ready.) 

Leah (speaking back to Sophie). Monsieur Huguenin ! 

Sophie. Yes. The detective I was telling you about to-day. 
He wants you to tell him all about that man Berton. Will you 
r-ome ? 

Leah (in a vibrant voice). Sophie ! Bring Monsieur Huguenin 
up here. 

Sophie. Thank you, dear. We'll come. 

(Leah has never ceased looking back into the room at the others, ivho 
were powerless to speak, or even to move.) 

Raoul (flinging towards Kleschna in mad terror). My God ! 
Kleschna, did you hear that. She's bringing him up here 

(Crosses to chair L.c. — sinks on it.) 

We're trapped. 

Leah (her voice ringing out significantly, her eyes fixed upon her 
father). No ! Unlock the door ! 

(Kleschna stands staring at her, unable to act or make her out.) 

ScHRAM (with vicious force, as he comprehends the situation). 
Kleschna ! Can't you see what she means ? She won't let him in. 
She's giving you another chance. Now then, will you do the right 
thing for once in your rotten life ? She'll save you from Huguenin, 
if you'll open that door. 

(The bell of the outer door rings loudly.) 

(Raovl utters a cry and clutches at Kleschna's arm). 

Raoul (in an agony of dread\. There he is, Kleschna ! For 
God's sake let her go. Open the door — open it ! 

(The bell rings again.) 

(There is a loud knock, with the distant sound of Sophie's voice in the 
hall calling.) 

Sophie, Leah ! Leah ! 



86 LEAH KLESCHNA act iv. 

{Curtain warning.) 

ScHRAM ihreathles'd'y , as he leans in a hlacJc fury toward the immov- 
able Kleschna). D'ye hear ? Klesclina ! It's give and take 
between ye ! What d'ye give to her ? 

(Kleschna and Leah are standing motionless looking into each other's 
eyes, apparently oblivious of the others. Kleschna is like a 
marble statue, rigid and fixed. After a tense pause, without re- 
moving his gaze from Leah, he slowly takes the key of the door 
from his pocket and holds it out to Schram. Schram seizes it 
eagerly, with a look of joy, and swiftly throios open the door into 
the private hall. Leah continues looking calmly at her father, 
while Raoul, a victim of terror, is huddled in a chair by the table, 
watching her.) 

Leah {in a low, wonderful voice, after a pause.) Poor old dad ! 
You never saw the true light, did you ? Will it ever shine out to 
you ? If it does, believe in it, follow it ; it's your only hope of peace 
in this world. 

{She continues to gaze at Kleschna, and then walks slowly out.) 

(Schram shuts the door to eagerly after her, and falls weakly against 
it. Raoul cowers trembling in the chair. Kleschna, staring 
fixedly at the door, does not stir.) 

Curtain. 



ACT V 

Scene. An expanse of vegetable gardens in bright sunshine. It is 
the neighbourhood of Neustadt, in Austria. The immediate 
foreground of stage is a narroiv road running froyn left to right. 
At the bach of this is a [narrow ditch traversed by a j??a??Z-. 
Then the entire stage is a field of young lettuces, tvhich rtm xif in 
a succession of rows. The garden extends far into the distance 
and forms a beautiful smooth picture. The sicn ilhiminates the 
tiny lettuces like slectric bulbs. It is the middle of an afternoon 
in June. A group of peasants, including Charlotte, an old 
woman, Johann, an old man, and Frieda, a girl, are seated on 
and about a section of a felled tree by the side of the ditch. Far 
bach, worhing on their hnees among the lettuces, are three or four 
men and girls, and among these are Leah arid Anton Pfaff. 
The peasant'i in the foreground are partaking of their afternoon 
repast of bread and cheese and loine. 

Lights. Everything full up. Amber and white. Two amber arcs 
on perches. Two white arcs with ground glass in 2nd e. r. 
One white arc tvitk ground glass in 2nd e. l. Two open arcs 
up in R. flies. 

Johann. Anton wastes his time. Leah's heart is out there 
beyond the fields. 

Charlotte. Ay ! You never bring it bar-k when once you go 
out there. She don't tell us everything, Leah don't. Like as not 
there was a man. 

Johann. Like as not there was a dozen. 

Charlotte {pointing bach ivith her knife). Look at 'em up there. 
{Shouting.) Anton ! You seem mighty fond of lettuces, Anton, 
Well, take an old girl's advice. When you can't get lettuces eat 
young cabbage. 

{The others laugh. Leah rises to her feet and looks doivn at the others.) 

Leah {calling). Were you calling, Mother Charlotte ? 
Charlotte. I was calling Anton ! But you come along and 
Anton will follow. 

87 



88 LEAH KLESCHNA act v. 

(Leah comes slowly down followed by Anton, She is in peasant 
dress, hut none of the sullenness and despair of the peasant class 
is noticeable about her. She is smilincj and buoyant. Anton 
Pfaff is a ivell-looking youth, but awkivard, and quite of the 
soil. His attitude indicates a dog-like worship of Leah.) 

Leah. What do you think this cruel boy is saying now ? 

Charlotte. Says he'll jump into his father's well if you don't 
marry him. 

Anton. Never said I'd jump into my father's well. 

{The peasants laugh at Anton.) 

Leah. Hush ! Anton is not so f-^olish as that. Move along, 
Mother Charlotte, and let me sit beside you. There ! 

{She draws a long breath.) 

Ah, how nice it is here in the shade. No ; Anton says he'll leave 
the neighbourhood. 

{There is a chorus of " Oh ! ") 

Anton {digging the toe of his boot into the ground and looking doum). 
Why shouldn't I ? If you want a girl, and she don't want you, 
can you bear looking at her all the time ? Going away is easier. 

Charlotte. Rubbish ! 

(Leah laughs merrily.) 

Leah. Sit down, Anton. 

{As he starts gladly towards her.) 

No, not here. There's room beside Frieda. 

{He stops disappointed and glances down at Frieda, ^vho eagerly 
makes room for him on the ground.) 

Frieda. I have a cake with seeds on the top, Anton. 

{Unrolling her handkerchief.) 

I made it myself. I make many sorts of cakes. My grandmother 
taught me. Will you ? 

Anton {pouting). I don't like that kind of cake. 

{She holds out the cake to him. He unwillingly sits beside her and 
looks sullenly at the cake, ivhich she continues to press upon him.) 

Leah {looking over to them). Poor Frieda ! 

Charlotte {to her). Frieda would make a better wife for a man 
than you, Leah. 

Leah. Twice better. 

Charlotte. Because she's no dreamer. 

Leah (smiling). Why, bless you. Mother Charlotte, I don't dream. 



ACT V. LEAH KLESCHNA 89 

Charlotte. Ah ! Go away with that ! I can read the eyes. 
Leah. But my eyes do nothing but count lettuces all day long. 
Charlotte. Ay ! And how many lettuces are there between 
here and Paris ? 

{A shadoiv falls across Leah's face.) 
Leah (softly). Millions ! 

(Frieda is gazing ecstatically up at Anton, who has at last been 'pre- 
vailed upon to take the cake from her and sit munching it.) 

Frieda [leaning towards Anton). Is it a nice cake, Anton ? 
Anton [ivitli his mouth full). M-m ! 

Charlotte [observing them). You'll get him yet, Frieda. Feed 
him ; feed him ! 

(Frieda sighs happily. Leah laughs softly to herself. Johann 
stretches himself out for a nap. Leah watches Frieda contentedly 
as the latter pours out some icine into a cup and hands it quietly 
to Anton, u^ho, giving himself up to the pleasure of feasting, 
turns to Frieda and examines the contents of her handkerchief. 
She offers him another cake. He accepts it, and her face shines 
with gladness.) 

Leah [sighing contentedly). Ah ! 

[She turns and gazes across the gardens dreamily.) 

Look at the lands. Mother Charlotte ! What peace is on them ! 

Charlotte [drawing close to Leah). But if the fields are so sweet 
to you, Leah, why do you try to look beyond 'em ? 

Leah. I don't. 

Charlotte. Now that's what I read in your eyes. Who did you 
leave in France, Leah ? 

(Leah rises to her feet.) 

Leah. Hush, Mother Charlotte ! 

[She turns and looks off R.) 
I-jn't that Eeichmann that's just turned into the lane ? 
(Charlotte riVes and, shading her eyes tvith her hand, gazes off to L.) 

Charlotte. Yes. And there's some one with him. He's show- 
ing off his lands again. Reichmann loves to show his lands to 
strangers. Eh, well, come along ! Up there, Johann ! Stop 
your snoring ! Here comes the master. 

Johann [starting up). Eh — what ! Look here ! I dreamt that 
Anton was married to Frieda's grandmother. Now what does that 
mean ? 

Anton. It means I'd smack a younger man for dreaming that. 

Frieda. Well, my grandmother taught me to cook ; could that 
mean anything ? 



90 LEAH KLESCHNA act v. 

Leah. It means everything, Frieda. 

{Leading her wp with her arm about her waist.) 

Come, dear ! Work near me. 

{The feasants heap their bottles and pannilcins together and go bach 
to their work. Leah, Frieda, Charlotte and Johann remain 
in view, kneeling between the rows of lettuces at bach. They work 
in silence. Presently Reichmann, the farmer, enters at l. 
accompanied by Sylvaine. Reichmann is a stout, red- faced, 
satisfied man, proud of his possessions.) 

Reichmann {as he enters). Kronig's farm meets mine at that 
hedge a mile away, but Kronig is a waster and gets nothing out of 
his people. Fourteen hours a day is what I give 'em, and then the 
profit isn't too much. Hard work, monsieur, I believe in. 

Sylvaine. Yes, yes ! 

{Gazing bach.) 

What a sea of lettuces ? 

Reichmann. Yes, but come and let me show you the melons — 
something there's a real profit in. 

Sylvaine. But shall I find Leah Kleschna down there ? 

Reichmann. Ah, you want to see Leah Kleschna, don't you ? 
May I ask what your business is with her, monsieur ? 

Sylvaine. I would like to speak with her. 

Reichmann {loohing about). Well, she should be near by. They 
all look alike, these women, when they're in the fields. I'll go up 
and see if she's in that group yonder. 

(Reichmann, leaving Sylvaine, goes up between the lettuces and 
looks into the faces of the toilers. He stoops and touches Leah 
on the shoulder. She looks up at him. He is seen to speak ivith 
her and point toward Sylvaine. Leah shades her eyes tvith 
her hands and looks down. Then she rises to her feet and smooths 
her dress. She begins coming down, looking curiously at Sylvaine. 
Reichmann addresses a few words to the other lahourcrs and goes 
out of sight at "R.) 

Sylvaine {extending his hand). How-do-you-do, Leah ? 

Leah {presently). Why have you come ? 

Sylvaine. To see you. It's three years since we met. You 
look well. 

Leah. I am well. How did you know where to find me ? 

Sylvaine. I've always known. I made a point of knowing. 
Do you mind ? 

Leah {with a little catch of the breath). Mind ? I— I'm only sur- 
prised. 

{A pause.) 



ACT V. LEAH KLESCHNA 91 

And — Madame Sylvaine ? I hope she is well. 

Sylvaine {smiling). There is no Madame Sylvaine. 

Leah (looking up questioninyhj) . Then — then what has happened ? 

Sylvaine. I've never seen the child that was to marry me, since 
that day when you sought to keep the truth from her. She refused 
to see me again. {Smiling.) You see, I do not come to you an 
heroic figiue. 

{He pauses.) 

Leah, I have come to propose a change for you — that you leave 
this neighbourhood and start a new life elsewhere. 

Leah {smiling gently). But — I am at peace here — monsieur. 

Sylvaine. Do you believe that this peace of the fields is the 
only refuge that life can hereafter contain for you ? 

Leah {ajter a moment). Yes. 

Sylvaine. I hope not. 

Leah. It's enough. 

Sylvaine {regards her silently, then goes on again). Do you think 
I might give you good advice, Leah ? 

Leah {quickly). Oh, yes ; and if you tell me I must go away I 
shall obey you. 

Sylvaine. No, no. You shall decide. 

Leah {looking frankly at him). Yes, monsieur. 

Sylvaine {in serious, even tones, after a short pause). Well, then, 
you may have, if you will accept it, a home — with a member of my 
family. You will have companionship, afiection, and no less of 
peace than you are finding here in this lonely corner of Austria. 
I've come to ofier this to you. Will you take it ? 

(Leah has listened intently, her emotion increasing as he proceeds. 
The consideration contained in his suggestion overwhelms her.) 

Leah {controlling herself and raising her eyes slowly). I think — 
I'll remain here. I'm afraid of the world out there. 

Sylvaine. Afraid ? 

Leah. It's there the bad memories are. Here I am safe. 

Sylvaine. Yes, I understand. But I don't want it to be as 
you say. The world out there is yours as much as it is mine, or any 
one's. 

Leah {with a fluttering smile). My impulse is to remain here. 
Here I have found the faith and hope that can carry me to the end. 

Sylvaine. Why, wherever you go it will be the same. You'll 
have faith and hope, for they're both part of you, now. 

{She turns aside, greatly perplexed. Then she looks up at him again.) 

Leah. And this other home ; is it in Paris ? 
Sylvaine. It's in England. 



92 LEAH KLESCHNA act v. 

(Leah collapses a hit.) 
Leah {weakly). England. But I don't know England. 
{A pause.) 

And you would want me to live there always — in England ? 

Sylvaine. No. I hope that soon I shall bring you to France 
again. 

Leah {wonderinghj). To France ? 

Sylvaine. To my home. To Saint Cloud. 

(Leah continues looking intently at him. She has been slow to 
understand the full significance of his words, hut now his voice 
and expression convey an umnistakahle meaning. It dawns on 
her gradually, and her eyes fall at last, as Sylvaine continues to 
gaze at her.) 

(Very gently.) Will you come, Leah ? 

{All her helpless femininity rises uppermost. She ponders bravely 
for a moment, and then looks up for the advice that must rule her.) 

Leah. What shall I say ? 

Sylvaine {taking her hand). Say that you'll walk with me back 
to the village. 

(Anton, Frieda, Charlotte and Johann have entered and are 
watching them from among the lettuces, whispering together.) 

Leah. But I must work till seven. Reichmann won't let me 
leave. 

Sylvaine. I'll explain to Reichmann. , 

{Warning for song.) 
{Warning for curtain.) 

Leah {timidly). But what will the people say, seeing me walk — 
me — with you back to the village ? 

Sylvaine. And if you walk with me beyond the village — so 
far that at last they will grow weary of saying ? Shall we grow 
sad here talking of life ? Look over the world there ! 

{Pointing across the fields.) 

Was there ever anything so gay as the world is ? Shake out your 
plumes, Leah, and laugh. Don't you want to ? 

{Song.) 

Leah {smiling, caught up by his fine spirit). Yes. 
Sylvaine. And will you walk with me to the village ? 
Leah. Yes. 



ACT V. LEAH KLESCHNA 93 

{He leads her slowly off R.) 

(Anton, Frieda, Charlotte and Johann have been gradttally 
stealing on L. curiously, and trying to overhear ivhat Leah and 
Sylvaine are saying. As they walk away together, the four fea- 
sants bend forward and gaze after them.) 

Charlotte {turning at last and catching Anton's sleeve). That's 
the man. Now you know why, Anton ! 

(Anton droops his head, and Charlotte puts her arm about Frieda, 
who is watching him.) 



Curtain. 



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